The Most INSANE Music Interview

you know I've done a lot of interviews on my channel and I'll read the comments and people say Rick oh you're great at interviews things like that and I think well I watched this one particular interview which I think is the perfect interview of a musician and that's kind of what I based my interviews on although I do a much longer form 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 only going to play the playing Parts but Oscar came out played at the beginning of the show just by himself then he went over and sat down with dick they spoke uh about uh a bunch of things Oscar's career how he started on trumpet how his dad made them practice and things like that and how he's into sports and then they adjourn to the piano dick cavat does this masterful job of asking Oscar about different styles and Oscar being being one of the greatest improvisers of all time does Amazing demonstrations of each thing he asks him about that only somebody like Oscar Peterson could do so let's watch this together because it is ridiculously great okay so it starts out like this thank you and his grace the Duke thank you and Oscar let's hurry this I've got some notes here from my scrapbook I want to be possible to pick up pick a tune and have you show us just uh superficially perhaps are you going to pick a tune that I know are you no go cuz I might pick Buttons and Bows or who knows um and and if you could just show us some of this what I think are called stylistic trademarks of other other pianists now what do we mean by the phrase The Stride piano of Art Tatum for examp the stride piano of of Tatum or people of that era is the is the ability to play the background for yourself and make it work like a Rhythm Section okay first of all strip piano's incredibly difficult to play an Oscar as opposed to when you play with the Rhythm Section where you would just hold a chord usually or punch with a chord and play so if you have a bass player because the drummer is [Music] playings so this way you go yeah woo great feel so the right hand is really the instrument and the left hand is putting the Rhythm Section out of work that's right so right there dick kavit says something profound he says the right hand is doing all the work CU it's soloing and the left hand is putting the Rhythm section out of business because the left hand is walking the baselines and playing the chords at the same time so that that it sounds like a complete Ensemble that's a really astute observation from dick cavat who's not a musician okay then that's the idea okay what else did I put down here oh yeah here's something I wrote um not of talking about influences on you and quote the two-fingered percussiveness of Nat Cole did you show the two finger do this sort of [Music] thing which each note has its own articulation rather than being an insipid phrase like yeah okay this is on afternoon [Music] TV and he used mostly the front end of his hand emphatic it was very emphatic articulated like you do in speech then on then the musac running all notes together uh that's part of the sentence the other part we they could hear in your early influence was the lyric octave work of earol Garner this is with the full chords like this where Errol used handful of chords to play Melody if he was going to play uh getting sentimental he might play it like [Music] this oh man and delay it like that uhhuh and as I said on another show you have to know how to be able to do the proper delay so it doesn't S false since you didn't name the Airline you better not name the other show I won't I love it that was it um run by a middle incredible okay uh what about the relaxed block cords or would that be a typo for black cords no I guess not in George hearing's case George sh George Sharon used this kind of [Music] thing [Music] oh two run Melodies left roses of pick where he used the fullness of a sack section almost instead of playing just with a melody and simple [Music] accompaniment great demonstration Play It Again with partial chord partial chord would be two notes for instance it's much sparse much more sparse this is full great demonstration it just occurred to me that uh I I read so that you had given up singing Because you sounded a little 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 bit of a blossom F can tell who you sound like this is amazing I wish I could because he gets ask her to sing to build a dream on 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 don't embarrass me I I sing occasionally when I you know when I feel you do feel up to it could you sing just a bit and see if you sound like anybody I'll be the this has been what a rare mood I'm in well it's almost like being love and if you say Donna Summers you're in deep trouble and so are you that's right no I think everyone I love the Rapport it's amazing that they're joking around I think everyone recognized the voice of the immortal George Burns now of course you have to be my age to remember George Burns not explain it what are double-handed or or is it double octave baselines oh I think there was both actually mean double O octave uh melody lines rather than bass lines because if you play a linear invention if you play um as a g on uh as a game Georgia yeah if you invent something as an alternative line yeah then you can play the same thing with two hands he's improvising are they doing the identical thing those two hands [Music] right but you get in two M two different b piano gives a little different substance this is a little difficult to do if you haven't been doing it was that ever hard for you or when the first time you tried that could you do it no I couldn't do it the first time I tried it okay so right there that question was that ever hard 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 that you want to hear that 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 see to know that and that is just a great great lesson there what would I be hearing if the if the pianist was tonality based I've seen that term thrown you hearing all right if we take the same tune rules okay PR right you'd hear this sort of thing melodies you might hear a more involved H like oh whatever they chose to do just moving them that is unreal Oscar's reharmonization of that is absolutely beautiful incredibly sophisticated too the idea that a daytime talk show host asks about tonality B based playing versus more harmonically involved and Oscar demonstrates it perfectly this is on in the middle of the afternoon you would never see anything like this on today of course you didn't see anything like it on there back then either but that is just astounding continue harmonies around changing them to give it to a different shape to the tune thank you for this master lesson quickly two 10-second questions how good a trumpet player was Louis Armstrong in turn in musician terms fantastic yeah and the other one is how long has wigs been a verb transitive as in cigarette holder that wigs me in the lyrics to set that is just a master class of how to interview a musician the idea that it actually started with Oscar playing so they dedicate this time to 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 went over and did this and to me that is what I strive to do when I'm interviewing somebody is to actually talk to them about music I interview people that I'm fans of and I ask them questions that I always want to ask them people say to me Rick how long do you prepare for your interviews and I always say I don't prepare for them I've been preparing forever since I heard their music The First Time whether it's sting or Pat maeni or Brian May whoever I'm interviewing Keith Jarrett I don't prepare because I've been preparing my whole life I've been preparing learning music I've listened to these people's music that I really admire and I have an idea of the things that I've always wanted to ask them about but to me when I watched this dick Cavin interview of Oscar Peterson for me to think that this was on daytime television when I was growing up really is mindboggling when you think about the Mindless things that are on TV nowadays and that's why YouTube to me is the new TV I will continue to try to bring as good of interviews as I can because I think it's a really really important thing and there just are phenomenal go to the dick Cavit YouTube channel go look for his interviews of Jimmy Hendrick George Harrison Louie Armstrong of John and Yoko he has the the most amazing interviews of musics and the fact that he interviewed Oscar Peterson I mean that is amazing leave comment hit the Subscribe button let me know what you think thanks for watching

Channel: Rick Beato

Views: 1,189,769

Keywords: rick beato, everything music, rick, beato, music, music theory, music production, education, Oscar Peterson, Dick Cavett, Jazz, How to play jazz, how to play piano, Interview, Music Interview, Greatest Music Inverview, Reaction

Id: IUlzYiUU9BY

Length: 10min 33sec (633 seconds)

Published: Fri Jan 05 2024