The Most INSANE Music Interview

You know, I've done a lot of

interview

s on my channel and I read the comments and people say Rick, oh, you're great at

interview

s and stuff like that and I think I saw this particular interview that I think is perfect. interview of a

music

ian and that's what I based my interviews on, although I do a much longer interview, this particular interview was Dick Cavit interviewing Oscar Peterson, the great jazz pianist, in 1979. I'm going to explain to you why I think this is a Great interview, I'm not going to play the whole interview, I'm just going to play the parts, but Oscar came out played at the beginning of the show by himself, then he came over and sat with Dick, they talked about uh. a lot of stuff about Oscar's career, how he started with the trumpet, how his father made them practice and stuff like that and how he likes sports and then they move on to the piano.

Dick Cavat does this masterful job of asking Oscar about different styles and having Oscar be one of them. one of the greatest improvisers of all time does amazing demonstrations of everything you ask him that only someone like Oscar Peterson could do, so let's watch this together because it's ridiculously cool, okay, so it starts like this, thank you and His Excellency the Duke, thank you. You and Oscar, let's hurry up. I have some notes here from my scrapbook. I want it to be possible to choose a melody and show it to us superficially, maybe choose a melody that I know.

You do not go? Because I might choose Buttons and Bows or who knows. And if you could show us some of these what I think are called stylistic marks of other pianists, what do we mean by the phrase The Stride piano by Art Tatum, for example? Rhythm piano from Tatum or people from that era is the ability to play the background by yourself and make it work like a rhythm section. Well, first of all, it's incredibly difficult to play an Oscar with a rhythm piano as opposed to when you play with the rhythm. Section where normally you would just hold a chord or hit a chord and play, so if you have a bassist because the drummer is playing, this way you go, yeah, great feeling, so the right hand is really the instrument and the hand right hand is putting the Rhythm Section out of work, that's right, right there Dick Kavit says something profound, he says the right hand is doing all the CU work, he's doing a solo and the left hand is putting the Rhythm Section out of work. serve because the left hand is walking the baselines. and play the chords at the same time so that it sounds like a complete set.

It's a really astute observation from Dick Cavat, who is not a

music

ian. Well, then that's the idea. What else did I put here? Oh yeah, here's something I wrote. No. From talking about your influences and quoting Nat Cole's two-finger drumming, did you show that two fingers do this kind of thing where each note has its own articulation instead of being a bland phrase like yeah, okay? , this is on afternoon television and him? he used mainly the front part of his hand emphatically, it was very emphatic, articulated like you do in speech, then, then, the musac playing all the notes together, uh, that's part of the sentence, the other part that they could hear in your early influence was the work of the lyrical octave. by earol Garner this is with full chords like this where Errol used a bunch of chords to play Melody if he was going to play uh getting sentimental he could play it like this oh man and delay it like this uhhuh and like I said on another show you have to know how to do the delay suitable so that it is not fake since you did not name the airline, you better not name the other program.

I won't do it. I love it, that's how it was. Directed by an intermediary. awesome, well what about the relaxed block cables or would it be a typo for the black cables? No, I guess not in the case of George Hearing. George sh. George Sharon used this kind of thing. Oh, two running melodies left pick roses where he used the fullness of a sack section al

most

instead of playing alone with a melody and a simple accompaniment great demo Play it again with a partial chord the partial chord would be two notes for example it's a lot scarcer much scarcer this is complete great demonstration it just occurred to me that uh, I read that you had stopped singing because you sounded too much like a well-known singer don't say who it is I'm not going to sing um let's see could you do a little flowering?

F I can tell who you are It sounds like that it's incredible I wish I could because they ask him to sing to build a dream. Do you really sound like him? Well, it's debatable. You won't do it that way. I don't want to embarrass you. You will not do it. I'm ashamed. I sing from time to time, when you know, when I feel like you're feeling up to it. Could you sing a little and see if you sound like someone? I'll be the one, this has been the weird state of mind I'm in, well, it's al

most

. like being love and if you say Donna Summers you're in big trouble and so are you, that's true, no, I think everyone loves Rapport, it's surprising they're joking.

I think everyone recognized the voice of the immortal George Burns by now. Of course, you have to be my age to remember that George Burns doesn't explain what two hands are or are double octave baselines. Oh, I think they were actually both double O octave melodic lines uh instead of bass lines because if you play a linear. invention if you play um like a g in uh like a game Georgia, yeah, if you invent something like an alternate line, yeah, then you can play the same thing with both hands. He is improvising. Are they doing the same?

Those two hands, right? But you get into two. M two different pianos b give a little different substance this is a little difficult to do if you haven't been doing it, was it ever very difficult for you or when the first time you tried it, could you do it? No, I couldn't do it. the first time I tried it, okay, so that question was very difficult for you or could you do it the first time? No, I couldn't do it the first time. That's the kind of thing you want to hear about people like Oscar. Peterson, this genius that he had, yes, he had incredible natural talent, but he worked at it and that to me is inspiring to know that and that's just a great lesson, what would I be listening to if the pianist was based on tonality?

I've seen that term thrown in your ear, okay, if we take the same melody rules, okay, PR, right, you would hear these types of melodies, you might hear a more involved H like, oh, whatever Whatever they chose to do, just by moving them, that's unreal. Oscar's reharmonization of that is absolutely beautiful, incredibly sophisticated, also the idea that a daytime talk show host asks about key B-based interpretation versus a more harmonically involved interpretation and Oscar demonstrates it perfectly, this is a mid-afternoon, you'd never see anything like this in Today, of course, you didn't see anything like it there back then either, but that's just amazing.

Continue with the harmonies changing them to give a different shape to the melody. Thank you for this master lesson. Quickly, two 10-second questions, that's great. a trumpeter was Louis Armstrong in turn in musical terms, fantastic, yes, and the other is how long has it been wigs a transitive verb as in mouthpiece that I wig in the lyrics to establish that's just a master class in how to interview a musician. the idea that it actually started with Oscar playing, so they spent this time with him playing a standard at the beginning of the show, then he talked to Dick Cavit on the couch or they were both sitting in chairs, he had a conversation, and then they walked over. and I did this and for me that's what I strive to do when I interview someone is talk to them about music.

I interview people I'm a fan of and ask them questions I always want to ask them, people say. For me, Rick, how long do you prepare for your interviews? And I always say that I don't prepare for them. I've been preparing forever since I first heard his music, whether it's Sting, Pat Maeni or Brian May, whoever I'm interviewing. Keith Jarrett I don't prepare because I've been preparing my whole life. I have been preparing by learning music. I've listened to the music of these people I really admire and I have an idea of ​​the things I've always wanted.

Ask them about that, but when I saw this Dick Cavin interview with Oscar Peterson, I thought this was on daytime television when I was a kid, it's really mind-blowing when you think about the nonsense that's on television today and it's because That's why YouTube For me is the new television. I'm going to continue to try to give the best interviews I can because I think it's a really, really important thing and there are phenomenal things about it. Go to Dick Cavit's YouTube channel, look for his interviews with Jimmy Hendrick George. John and Yoko's Harrison Louie Armstrong has the most incredible music interviews and the fact that he interviewed Oscar Peterson, I mean it's incredible, leave a comment, hit the subscribe button, let me know what you think, thanks for watching.