August 16, 2025 • 29 mins
Geoff gets a visit from the wonderful pianist and composer Andrea Vicari who opens up about her rich musical journey inspired by her jazz pianist father and a house filled with the sounds of jazz legends like Louis Armstrong.
Andrea shares fascinating insights into her improvisation process, demonstrating how pentatonic scales and fourth-based voicings – influenced by McCoy Tyner and Chick Corea – shape her approach to standards like the 1940s classic ‘On Green Dolphin Street’ which she performs accompanied by the Quartet app. Rather than planning solos in advance, she responds organically to her initial phrases, allowing ideas to develop naturally through active listening. This responsive approach reflects decades of absorbing the language of jazz through transcription and performance.
The conversation takes us to the beautiful Dordogne region of southern France, where Andrea’s summer school has flourished for 22 years at Chateau de Monteton. What began as a practical way to spend time near her relocated parents has evolved into a beloved institution where two-thirds of participants return annually, forming lifelong friendships and even marriages. She describes it as like “Love Island on Jazz”. This blend of community-building and jazz education represents the holistic approach Andrea brings to music—valuing connection alongside technical mastery.
Perhaps most touching are Andrea’s reflections on performing in post-war Bosnia, where audiences would sing along to folk melodies integrated into jazz performances amid buildings still bearing bullet holes. These experiences, alongside her sophisticated approach to harmony and improvisation, reveal an artist whose musical expression is deeply informed by human connection and emotional resonance.
Discover Quartet for iOS, taking your jazz play-along experience to another level. Search for Quartet on the App Store or visit quartetapp.com to learn more about the top-selling innovative tool for jazz musicians.
Presenter: Geoff Gascoyne
Series Producer: Paul Sissons
Production Manager: Martin Sissons
The Quartet Jazz Standards Podcast is a UK Music Apps production.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Geoff (00:01):
Hello podcats, Geoff Gascoyne here, hope you're well.
Today I'm at my house, my ownhome, and I'm expecting a visit
from a wonderful pianist andeducator and composer, Andrea
Vicari.
We're going to have a littlechat about her life, her career
and some improvising, writingmusicals, teaching, some
(00:23):
highlights, and she's going topick a standard to play.
So here we go.
Announcement (00:43):
The Quartet Jazz Standards podcast is brought to
you by the Quartet app for iOS,taking your jazz play along to
another level.
Hello Andrea, how are you?
Andrea (00:53):
Hi, Geoff, I'm great,
All right.
Thanks for doing it.
That's OK.
I'm, you know, happy to be ofservice, as they say.
Geoff (01:00):
It's a service to everyone.
I hope it's for the greaterjazz community.
I would like to say
Andrea (01:04):
The greater good yes.
Geoff (01:05):
Can we start by talking about your background and about
how you got started in jazz?
Andrea (01:09):
Yeah, my father was a jazz pianist, so we had a lot of
jazz in the house, all the timeand I was taken to a big band
gig by my friend's father.
My parents used to take me togigs, but it'd be like the
Waterworks in Birmingham andit'd be quite, I'd say, a bit
more traddy sort of jazz and itwas full of older people,
Geoff (01:29):
So nothing's changed there, then has it
Andrea (01:31):
No, but but anyway.
so, friends, dad took me to seethe Midland Youth Jazz Orchestra
when I was about 15 and I wasjust like, wow, that's
incredible.
And of course everyone playingin it was my age or you know
slightly, and one of my friendsat school was in the trumpet
section just by chance, and so Isaid, oh, you know, I'd quite
like to join that.
And he said, well, why don'tyou come?
And actually I lived reallyclose.
(01:52):
I mean, it's incredible, it wasgoing on.
I only knew it because myfriend's parents had taken me
there.
So I kind of feel like what, ifI had never done that, that
would I have still come to jazz?
Because the big band was areally brilliant way to start
improvising, because of courseyou'd be playing written music
or just chord symbols.
You know, I sort of take ithome and teach myself how to
play chords and then you'd havelike four bar solo and it's
(02:14):
really scary, you know, but youdo the four bars and you kind of
it's like an education whenyou're in a big band because you
feel safe because there's somany people.
So that was my first sort of wayinto jazz.
I learned classical piano so Iwas playing anyway to quite a
reasonable standard.
Geoff (02:31):
So what age were you when you first actually improvised?
You actually took your firstsolo.
Andrea (02:36):
I mean I'd say when I was about 15, 16, but I mean I
always improvised.
I was always writing music athome.
Actually, to be fair, my daddid used to show me like some
blues stuff that I do, so Ican't really remember, but I
know when I had my firstofficial solo would have been
when I was in that big band.
Geoff (02:51):
Did you listen to jazz as well around that time?
Andrea (02:54):
I think when I took an interest in listening to records
, it was when we discovered thatthere were certain records that
we really liked me and mybrother we discover like
Bitches Brew, Miles Davis andthen one of my favourite albums
was was Chick Corea and, um StanGetz, Captain Marvel which we
played over and over and overagain.
you know, I think I was tryingto find something that I could
(03:15):
identify, but actually, I mean,my dad's record collection was
ridiculous right it was just Ihad everything from Louis
Armstrong, but of course youknow when you're 15, 16 and it's
your parents music you don'twant to.
Geoff (03:27):
You know, and how did you actually gain a vocabulary?
Did you transcribe uh, solosand things like that?
Andrea (03:33):
So, if we fast forward in time, I think I transcribed
my first solo when I was about20 or something like that
What was that?
It was Herbie Hancock Dolphin Dance
Wow, that's advanced.
It's a manageable one, that it's not too difficult.
It's got a nice little shape toit.
Geoff (03:49):
But the harmony's pretty sophisticated on that tune,
isn't it?
Andrea (03:51):
People go oh, you should do that, you should do that.
And then you do it and you'relike, oh yes, why didn't I do?
this After school did you go toand studied music at Cardiff
University?
I'm of an age where the onlyplace to study jazz would have
been Leeds College of Music,which didn't give you a degree.
(04:11):
So I think quite shortlyafterwards some of the colleges
started to offer degree courses.
The Academy may have started it, but actually, to be fair, at
that stage I wanted to be acomposer.
So I went and I did compositionas my main thing at Cardiff.
I think I came to jazz at anatural pace.
I don't think I was.
(04:32):
I loved all music at that age.
I wasn't ready to specialise andI also loved sport, so I
thought music college might befull of people who didn't like
sports.
Geoff (04:40):
Right.
And then, after being in Wales,did you move to London?
Presumably.
Andrea (04:43):
So I did a three-year course, then did a teacher
training course, which in thosedays meant you got a grant and I
started it.
And I was like, hmm, don't knowif I want to do that, because
actually I'd just done thesummer school at the Guildhall
and everyone was like you shoulddo the full-time course and of
course I'd started thiseducation course.
But I thought you know what?
(05:03):
What I'll do this because it'llbe good to have on your CV, but
also it's something to live onand I can practice all the time,
which is what I did, so yeah.
I did the Guildhall.
The postgraduate certificate,as it was known in those days,
probably would have been amaster's.
I like to say that because thereweren't any jazz masters when I
went to the Guildhall
Geoff (05:19):
And then you started working as a pianist.
Presumably did you
Andrea (05:22):
Oh yeah, I mean I've been doing lots of gigs.
Anyway, before I came to, youknow, um to to London, I've been
working in Cardiff with somebands, so if you went to the
Guild hall and you did getopportunities in those days,
Dill Katz actually the bassplayer was was somebody who gave
me quite a lot of work and gotme into venues like the 606 and
places like that which which wasgreat um.
Geoff (05:42):
Dill was amazing, actually, in fact,
that bass there that's.
I bought that base from DillKatz that's still my main bass.
Andrea (05:48):
Dorian's got one as well yeah and it's really important
you know, when you're unknown,to get yourself known and that
was a really good way to getaround, so I suppose I, I I do,
you know owe quite a lot topeople like Dill and Phillip
Bent for those opportunities,you know.
Geoff (06:03):
And what about teaching?
Were you always a naturalteacher, do you say, or is it?
Andrea (06:07):
I taught from the minute I could earn money from it.
So, when I was 15, everyone wasgetting jobs at McDonald's and I
was, like, didn't want to workon a Saturday as I just kind of
hinted that I love sports.
So I've always played hockeyand I play on Saturdays, so I
didn't want a Saturday job.
So I taught piano.
So I started teaching from home.
I had a few students.
(06:28):
I have to say I do enjoy it,but it's just nice to have a
regular income.
You know, it was just somethingthat I needed to do when I went
to London.
I didn't have a grant by thattime.
Geoff (06:39):
Yeah, yeah, yeah, do you run the Dordogne
Summer School, now
Andrea (06:42):
Jazz Summer School, yeah ,
Right, howdid that start then?
So my parents, when I was 21, said we're leaving,
we're selling our house inBirmingham, we're going to go
and live in France, which wasgreat in some ways, but also it
meant that if I wanted to seethem, I needed to go out there.
I mean luckily it's a beautifularea, it's the Dordogne.
(07:03):
So I have spent every summersince I was about 21 in the
south of France and then I hadtwo children and I thought it'd
be really lovely to spend a longtime out there.
So I thought if I'm going tojustify six weeks, I need to
have an income.
I think I'd done some summerschools before that, maybe the
Chelmsford Jazz Summer School, Ican't remember, but I'd done a
(07:24):
few little things like that.
But it was just such abeautiful location.
I was just like anyway, youfound a venue of some friends
and my parents run writingcourses and so we did it there
the first year and then we movedit after a couple years to
where it is now, which isChateau Montaton, which is just
incredible.
It's a really old castle andit's not posh at all.
(07:46):
It's just very basic, buteveryone loves it.
It's very outdoors.
The playing is in an outdoorbar, covered obviously, but
anyway, it's just a.
it's an experience.
It's called the MontatonExperience, Literally, we have
two thirds that come back everysingle year.
It's probably even more thanthat.
You know, people have madelifetime friendships from that.
We've had many marriages out ofit.
(08:06):
I tell you it's like LoveIsland , gone jazz.
It's great.
I also have to give credit toDorian Lockett, who is my other
half, but also he's brilliant atdoing the admin, because I'm
quite good at ideas, butsometimes you have to have
someone who's there to answerthe phone to do the emails so
it's a joint thing.
I'm the musical director andhe's the director of the whole
(08:27):
place.
Geoff (08:28):
How long has that been going now then?
Andrea (08:29):
We've had about 22 years .
I think Wow, 22, 23 years yeah.
Geoff (08:35):
But it's a big thing to organise, that isn't it?
It is All the travel foreverybody and you know the amps
and the pianos and all thatstuff that you have to do for
that everybody and you know theamps and the pianos and all that
stuff that you have to do, forthat it is.
Andrea (08:47):
I mean we, we have connections out there.
As I said, my parents lived outthere so we could store stuff
Geoff (08:50):
And you speak French, do you?
Andrea (08:52):
I do.
I would say, uh, I could alwaysspeak a lot better, but we run
our course in English.
But yeah, it's fine.
I mean we've got a very goodvenue.
We are hoping to have our ownplace there one day, so maybe we
can keep it all there.
But you know, you just build itup and build it up.
But I think when you've got asuccessful business it becomes
easier and easier.
The people who come on thecourse they basically know
(09:14):
everything.
So if you're someone new, Ijust go well ask them, you know,
and and literally they knoweverything about it, what time
they eat dinner, you know andthat.
But most of our everybody getsthemselves there now.
So we don't really pick anyoneup.
We just sort our staff out,that's it so you know, if you
want to come, you get yourselfthere and then you know we look
after you while you're actuallythere.
(09:34):
Fantastic.
Yeah, can we talk about jazzstandards?
What part has jazz standardsplayed on your development as a
jazz musician?
I think it's a canon for us to play together, quite
(09:54):
easily.
I think it's a way we can jam,we can connect very quickly.
It gives us core repertoire.
I mean in terms of teachingit's really good, especially
when you have sequences,harmonic sequences, that repeat.
It's just part of the jazzhistory.
Geoff (10:12):
Is it still relevant today, as it always was?
Andrea (10:15):
Oh my gosh it's got to be relevant.
It's got to be relevant.
I mean, you don't have to playin a specific way.
You can take a standard andcompletely deconstruct it, but I
think it's nice to have that asa basis.
Geoff (10:28):
Like a benchmark.
Andrea (10:29):
Oh gosh, yeah, and it just means that you and I can go
and play together, you know,without having to worry about
you know what we're going to do,we can just go through that.
Oh, do you know that tune?
Yeah, of course.
Geoff (10:39):
Yeah, yeah, yeah.
So I've made some apps calledQuartet, which I think you're
aware of right.
I am aware yeah, and I askedyou to pick a tune.
Which one did you choose?
Andrea (10:50):
On Green Dolphin Street played often in E flat.
It's also played in C, but Iquite like the key of E flat.
I don't know why I like the keyof E flat, maybe it just fits
nicely under the fingers on thepiano.
What I like about that tune isthat often it's played latin
swing, so you've got a littlecontrast of rhythm, but the
opening bit's a lot more open.
So I love music that's got openopenness so you can play a
(11:11):
little bit more modally and thenit's got the, the functional
harmony afterwards, so that'sprobably the attraction of it.
So you can be a bit wilder andcrazy in those sections
Geoff (11:20):
Right, okay, I'm going to give you two choruses to play
on the piano.
Great, okay, here we go.
Thank you, do so.
(13:09):
Thank you, yeah, how did thatfeel?
I think that was myself and RodYoungs.
You were playing along to there.
Andrea (13:23):
Oh, it was very nice.
It was very nice.
I was trying to be very relaxedbecause I was aware that you
were recording me and I was justlike.
So what I'm now thinking is, ofcourse, that was a real
accompaniment, that wasn't acomputer accompaniment, and it
definitely makes you feel farmore relaxed because it's just
like you're connectingrhythmically and harmonically.
But that was, yeah.
Geoff (13:45):
Well, I think that's what we're aiming for.
We're going for the iRealmarket, but much better.
Andrea (13:50):
Much better, yeah.
Geoff (13:51):
Yeah.
Andrea (13:52):
Much, much better.
Geoff (13:53):
Can we talk a little bit about the improvising process?
Let's just take the beginningof that tune.
Have you got any kind of ideasthat you might kind of go into
your solo with Anything you canlike, demonstrate on the piano,
anything you can play for us?
Andrea (14:07):
us.
I think pentatonic scales arebrilliant, so I do a lot of them
and then, probably taking apattern.
Also the idea of fourths,because I kind of like playing
fourths and the left hand andthat.
So my left hand kind of doesinform my right hand.
So if my left hand is playingthat it's quite likely I might
(14:27):
actually play and phrase it.
Geoff (14:38):
It just sounds like jazz, doesn't it, with fourths in the
left hand and pentatonics inthe right?
Andrea (14:42):
Yeah, pentatonics are great.
I teach that when I teach jazz.
I always focus on it and,sometimes I never get any
further than the pentatonicscale because they get enough
from it.
You know without having to knowit's this mode and this mode.
So yeah.
Geoff (15:00):
So are you thinking of E flat major pentatonic, or C
minor pentatonic?
Andrea (15:04):
You're thinking of both E flat major.
E flat major pentatonic.
Yeah, because it's like E flatmajor chord One two, three, five
, six, yeah.
I mean I think some of mylanguage, when I use that, is
very Chick Corea kind of focusedand sometimes McCoy Tyner.
Geoff (15:21):
I was going to say that, especially the fourth in the
left hand.
That's very McCoy Tyner, isn'tit?
Andrea (15:27):
And you wouldn't get it from that because I wouldn't
have got there.
But like, if you gave me quitea lot of choruses, I could
actually start being quiterhythmically kind of I will push
it.
So it might be I might dothings that take me completely
out the key, are either joinedby intervals or a rhythmic
pattern and I really like thatfact of going.
(15:48):
I sometimes don't even knowwhere I'm going, but I know
where I'm going to finish up.
That's the thing
Geoff (15:54):
But as you're approaching your solo, do you?
do you have a completely clearmind?
Andrea (15:59):
I think I do.
I don't think I have much of apreconception.
I don't think.
I don't think I play in a waythat is particularly like you
know it's.
It's obviously full of licksand full of like things, because
improvisation is not justmaking it up, it's just
recording stuff.
So I'll have probably practicedstuff or played tunes, but I
don't really think about whatI'm doing till I literally start
(16:23):
playing.
But as soon as I've played aphrase, then I think what
happens then is that I'mthinking, you know.
Geoff (16:29):
So you're listening to yourself and then reacting to
your own ideas.
Andrea (16:31):
Yeah, so I might go BABBA DOO, babba DOO, boo, babba
DOO DA, babba DOO, babba DOO,babba DOO DA, babba DOO DOO DA,
babba DOO, babba DOO, babba DOO,babba DOO, babba.
I'm singing in my head,basically the fact that I just
(16:58):
sang it out there can sing andplay, not that I, but people do.
Geoff (16:59):
That's a really valuable lesson, though, isn't it to be
able to sing what you can play?
Andrea (17:01):
Yeah, yeah, and that goes back to language, which I
started to acquire probably fromthe minute I was born, because
my bad dad was a jazz pianistand they were just obsessed with
jazz, but also goes along thefact that I've like start, I've
just done loads and loads oftranscribing.
Geoff (17:14):
When you transcribe a solo, would you extract licks
from that and ideas?
And then how would you usethose ideas if you do?
Andrea (17:21):
What you're saying is really good educationally and
originally no, but I had a verygood piano teacher who was then
later my line manager, which isSimon Purcell, and he loved the
idea of extracting licks so um,I mean, I don't even know if I
can play it now, just ad hoc,but there's a.
I was transcribing some ChickCorea from a concert of
(17:45):
schoolers jazz and it was called, uh, Fingerprints which is like
a play on, you know, Footprints, you know those kind of things.
And that's like I just I thoughtthat's something, so I tried to
use that idea, but I think theprocess of the transcription in
(18:07):
itself means that you absorb theinformation.
I imagine there are some peoplewho, like I will take the lick
and I will do it in 12 keys andthen I shall do this, but I
think I probably struggle to bereally, really efficient at that
.
I'd rather get on to the nexttranscription.
So right but I try and takethings out just for my own needs
and also because I teach, I'malways thinking, oh, that'd be
(18:28):
really good for that class.
So I think as a teacher I kindof grow as a musician because
I'm always thinking of something.
So therefore I probably makemore of an effort for the
students than I would for myselfbut, actually, I'm learning
from the process.
Geoff (18:39):
Yeah.
Yeah, I've got some questionsfor you, if that's all right.
Just to finish off, if that'sokay.
First question is what's yourfavourite album?
Andrea (18:50):
Oh wow, oh wow, okay, wow.
That's really hard, but I loveso many things it's so hard, me
too, I know.
It's so hard, and then sometimesI love things just because I
played the music, you know.
Geoff (19:04):
I mean, I think that the point about this question is is
we all have albums that havemade huge impressions on us,
haven't we?
You know, formative albums,albums that we've we've you know
, that have had profound effectson us as musicians.
you know, I suppose that's what,that's what I'm after
Andrea (19:18):
So I'm thinking of things that, as piano players,
are just outstanding.
There's a few that.
There's The Real McCoy, McCoyTyner, yeah, but then I love
like really beautiful music likeEsperanza.
I love her, her album EsperanzaSpalding.
Yeah, and I love Herbie Hancockand I love Miles.
I love Miles is like theconcerts, the 64 concert, yeah,
(19:39):
they do something that for thattime, is ridiculous.
So, MccCoy Tyner, rhythm, rhythmand just the intensity of him,
you know, and John Coltrane,it's just like, wow, the same
with Herbie.
So Herbie does these thingsthat are just like you know,
finds chords that they're justso magical you know, Really
(19:59):
really tricky question that.
Geoff (20:01):
Okay, there's a few more.
Andrea (20:02):
Okay, hopefully I'll be able to answer them, yeah.
Geoff (20:05):
Is there a favourite musician, alive or dead, that
you'd like to play with?
Andrea (20:09):
Well, I really liked Michael Brecker.
I well, I really liked MichaelBrecker I know everyone says, oh
yeah, I really like MichaelBrecker, uh, yeah, so that would
have been great to play withhim I really like Bill Stewart's
drumming.
Geoff (20:23):
He's great that's still possible yeah, Pat Matheny, he's
pretty cool.
What's the highlight of yourcareer or best gig moment so far
?
Andrea (20:33):
Well, there's the one that I would say is probably
what everyone would think wouldbe the best thing, which is my
gig at Ronnie Scott's in thepiano festival, which was quite
a few years ago when my trioplayed.
But I think emotionally, thething that I really got the most
out of was going to Croatia andplaying with Jazz ExTempore,
(20:55):
with a great guitarist calledElvis Stanic, and probably some
of the gigs that we did inBosnia.
Just incredible people singingall the tunes and especially
knowing they'd come out of thewar and we'd be driving around I
mean, this was quite a fewyears after the war, you know
they'd have whole we call themcheese houses, houses with
(21:16):
bullets in them, and then wejust go and do a gig and like we
play jazz, but they'd have likefolk melodies and they'd just
sing them.
I just couldn't imagine thathappening in the UK going and
playing and people singing alongto your gigs although, yeah,
although I know it does happenso, yeah, that's fantastic,
fantastic.
Geoff (21:33):
What was the last concert you attended?
Andrea (21:35):
I think probably, if I'm honest, because I spent a lot
of time with students.
I probably went to The OvalTavern to see to see a trio of
students from our college TheOval Tavern.
Geoff (21:43):
That's a yes that's still running, isn't?
it.
That's a that's been around fora few years
Andrea (21:48):
yeah, I mean, that just happens to be uh last gig I
attended.
Geoff (21:52):
What would you say is your musical weakness?
Andrea (21:54):
Probably playing On Green Dolphin Street in G-flat.
For me, the weakness bit isthere'll be people who will just
do it straight off, like Iheard you accompanying earlier
and like you were just reallygood, and I think although my
ears That- was a guitar, though.
Geoff (22:09):
That was yeah.
Andrea (22:11):
the difference is you just got to move your hand up a
fret or two so I think myweakness is is is just sometimes
being able to play tunes in allkeys right I think partly
because I'm probably not veryinterested in doing that.
If I'm absolutely, it's not,but I know people have ears
where they can just play thingsinstantly.
Geoff (22:32):
But that's a technical thing.
We've already talked about that, haven't we?
That's a technical thing ofbeing able to play in all the
keys.
You know that's.
I mean, it's difficult on thepiano, isn't it?
Andrea (22:41):
Well, I think so yeah, yeah.
I mean, we've all got limitstechnically you know, I think
I'm pretty good technically, butthen, there are some people
that are just outrageous youthen there are some people that
are just outrageous.
You know, you see them onYouTube, don't you?
Just ridiculous technique.
Geoff (22:55):
Do you ever get nervous on stage?
Andrea (22:57):
Not generally, but it does happen from time to time.
I don't know why I would getnervous.
There was one instance that Ifelt very nervous, but it's
because I wasn't prepared.
So I was in South Africa and Ihad been judging a jazz
competition, a Unisa jazz pianocompetition, and we did a
workshop in one of the musicschools and it threw me because
(23:22):
they asked us to play Body andSoul, each in our own way, and I
hadn't played the piano muchbecause I didn't.
I mean, we were judging and wedidn't have a lot of time to
practice and I knew the tune,but I didn't.
I mean, we were judging and wewere.
We didn't have a lot of time topractice and I knew the tune
but I didn't know it well enoughand I didn't have like 10
minutes to just check it out andobviously it's got those
horrendous you know modulations,which, if you just can't
(23:44):
remember it or you know, yeah,so we all got up to play.
Also, you know, we'd beenpartying a bit the night
beforehand and I literally cameout in a sweat because I, I felt
that I, I wasn't prepared and Ithink that probably is the yeah
, I think that's quite a commonthing, isn't it?
Yeah, you know, but the otherswere fine they seem to be really
(24:06):
okay with it and I felt very.
But I tell you what I did assoon as I got home I learned
Body and Soul.
I can play it really well now,so it had a very positive effect
.
Geoff (24:15):
But how many keys did you learn?
Did you really know it?
That's the question.
Yeah.
Andrea (24:21):
Yeah.
Geoff (24:21):
Yeah.
Andrea (24:21):
Yeah, but I think if you gave me half an hour to think
about what I'd probably do,think of it in a completely
different way I'd be looking atnumbers and going how does it
relate back to the original key?
Yeah, which I'd be great atteaching but, actually
remembering it myself, I had tohave to go through that process.
Geoff (24:36):
Right, right, right.
Okay, a couple of off-topicquestions.
What's your favourite sandwich?
Andrea (24:43):
My favourite sandwich is prawn mayonnaise.
Geoff (24:46):
Okay, what about a favourite movie?
Andrea (24:50):
Oh, it's these things again, isn't it?
It's like, oh my God, all right, okay.
Favorite movie oh, it's thesethings again, isn't it?
It's like, oh my god, all right, okay, all right.
I'm gonna say, um, I think it'sLeon.
Is it the one about the, the,the contract killer okay with
Natalie Portman yeah, okay, okayyeah, it's just so in.
I mean, there are probably otherfilms that I also like, but I
just remember it and that's whyI'm saying it, because the
(25:11):
opening scene is a girl who'sjust gone to get a pint of milk,
lives in a flat in France andLeon, who's the contract killer
who does assassinations andstuff, lives in the next flat
along.
Anyway, she goes out, gets hispint of milk and when she comes
back her entire family has beenmurdered.
I think her father was a drugdealer or something.
(25:33):
And she walks past her flat andsees the door's open and just
glances and then realises thateveryone is dead and knocks on
Leon's door and goes I've gotyour milk for you like this.
And that moment, that tension,oh my God, it's just like.
And he's like what milk, whatmilk?
What milk?
(25:53):
You know the milk that you know.
And you realize that if hedoesn't get let in, they'll know
that she's gonna you know she'sgonna die basically.
So, of course, the film's abouttheir relationship Natalie
Portman, who's about 12, with umwith William anyway, but it was
just it's.
It's it's when you get anintense emotional situation yeah
, yeah that, yeah, that yeah,makes an impression on you.
Geoff (26:15):
Yes, exactly, amazing.
What about a favourite venue toplay in?
Andrea (26:20):
I'd have to say the 606, because you know the piano's
great there and Steve's beenrunning it for years and years.
He's a great chap, and I had myalbum launched there recently,
so why wouldn't I say it was the?
Geoff (26:30):
606?
.
Andrea (26:33):
There you go um what about a favorite country or city
?
Well, I'd have to say London.
I mean I live here.
I mean, I have to say it, Ilive here well, that's yeah.
Geoff (26:40):
I think you're right to be honest.
All right, one last question uh, what's your favorite chord?
Andrea (26:45):
Well, I, I should say F7 , flat 9, because a certain, a
certain person has that tattooedon his leg, which would be this
one that, that's Lewis' 13 flat9, actually, oh, 13,.
I forgot the 13, yes, but isthat my favourite chord?
I'm a sucker for a firstinversion, so I'm going to go
for a first inversion with the9th, so this is their first.
Geoff (27:09):
That is nice yeah.
So, it's got a G in it as well.
Yeah, it's good yeah.
Andrea (27:13):
Yeah, yeah, it's good.
I like that.
I also like D, minor ninth,which is kind of the same as
well.
Geoff (27:22):
That's tell us what's in that one.
Andrea (27:23):
Okay.
So I mean it's quite hardbecause the soft pedal's on, I
can't hear very much, but it'sgot the root and the fifth and
the ninth.
The root and the fifth and theninth and then I'm scrunching
next to the ninth, the third andthe eleventh and uh and the
seventh, and then I'm doublingthe third at the top, but
sometimes I put a b in themiddle
that reminds me a bit of DonGrolnick.
(27:46):
Did you know he played that alot, didn't?
he yeah, I like those chords when I teach and I show
the students I go.
You can't play F minor likethat.
Why would you do that?
You can play it like this.
And they all go ah.
And the next thing they go.
I've written this song and theytake those chords and it's got
(28:07):
that.
I know.
Geoff (28:08):
That's exactly what I did when I first heard that, that
Don Gronick album.
I remember I learned aboutvoicings just from that, just
the way he spreads those chords,those gorgeous 13 flat nines
and amazing.
Yeah, it's an orchestra at yourhand, so you should use the you
should use the range.
Andrea (28:24):
So if I hear people just playing, you know, root
position, root position.
You know I'm not saying thatthere isn't a need for a G7
chord like that, but you knowthere's so much more.
I call it sophisticated.
They're sophisticated ways ofplaying chords, you know,
Geoff (28:40):
yeah, yeah, amazing.
Well, thank you very much foryour time and your lovely
playing
Andrea (28:44):
Well, thanks for talking about the things that I, I
enjoy talking about, which is alot of jazz and harmony.
It's my favorite subject
Geoff (28:50):
Me too.
All right, we'll see you verysoon.
Thanks, AndreaThanks, bye, bye.
Announcement (28:55):
Thank you for making it to the end of another
podcast.
Please subscribe if you want tohear more of them as they land.
The quartet jazz standardspodcast is a uk music apps
production.
Quartet for ios, taking yourjazz play along to another level
.
Search, search for Quartet onthe App Store or find out more
at QuartetAppdotcom.
Hello podcats, Geoff Gascoyne here, hope you're well.
Today I'm at my house, my ownhome, and I'm expecting a visit
from a wonderful pianist andeducator and composer, Andrea
Vicari.
We're going to have a littlechat about her life, her career
and some improvising, writingmusicals, teaching, some
(00:23):
highlights, and she's going topick a standard to play.
So here we go.
Announcement (00:43):
The Quartet Jazz Standards podcast is brought to
you by the Quartet app for iOS,taking your jazz play along to
another level.
Hello Andrea, how are you?
Andrea (00:53):
Hi, Geoff, I'm great,
All right.
Thanks for doing it.
That's OK.
I'm, you know, happy to be ofservice, as they say.
Geoff (01:00):
It's a service to everyone.
I hope it's for the greaterjazz community.
I would like to say
Andrea (01:04):
The greater good yes.
Geoff (01:05):
Can we start by talking about your background and about
how you got started in jazz?
Andrea (01:09):
Yeah, my father was a jazz pianist, so we had a lot of
jazz in the house, all the timeand I was taken to a big band
gig by my friend's father.
My parents used to take me togigs, but it'd be like the
Waterworks in Birmingham andit'd be quite, I'd say, a bit
more traddy sort of jazz and itwas full of older people,
Geoff (01:29):
So nothing's changed there, then has it
Andrea (01:31):
No, but but anyway.
so, friends, dad took me to seethe Midland Youth Jazz Orchestra
when I was about 15 and I wasjust like, wow, that's
incredible.
And of course everyone playingin it was my age or you know
slightly, and one of my friendsat school was in the trumpet
section just by chance, and so Isaid, oh, you know, I'd quite
like to join that.
And he said, well, why don'tyou come?
And actually I lived reallyclose.
(01:52):
I mean, it's incredible, it wasgoing on.
I only knew it because myfriend's parents had taken me
there.
So I kind of feel like what, ifI had never done that, that
would I have still come to jazz?
Because the big band was areally brilliant way to start
improvising, because of courseyou'd be playing written music
or just chord symbols.
You know, I sort of take ithome and teach myself how to
play chords and then you'd havelike four bar solo and it's
(02:14):
really scary, you know, but youdo the four bars and you kind of
it's like an education whenyou're in a big band because you
feel safe because there's somany people.
So that was my first sort of wayinto jazz.
I learned classical piano so Iwas playing anyway to quite a
reasonable standard.
Geoff (02:31):
So what age were you when you first actually improvised?
You actually took your firstsolo.
Andrea (02:36):
I mean I'd say when I was about 15, 16, but I mean I
always improvised.
I was always writing music athome.
Actually, to be fair, my daddid used to show me like some
blues stuff that I do, so Ican't really remember, but I
know when I had my firstofficial solo would have been
when I was in that big band.
Geoff (02:51):
Did you listen to jazz as well around that time?
Andrea (02:54):
I think when I took an interest in listening to records
, it was when we discovered thatthere were certain records that
we really liked me and mybrother we discover like
Bitches Brew, Miles Davis andthen one of my favourite albums
was was Chick Corea and, um StanGetz, Captain Marvel which we
played over and over and overagain.
you know, I think I was tryingto find something that I could
(03:15):
identify, but actually, I mean,my dad's record collection was
ridiculous right it was just Ihad everything from Louis
Armstrong, but of course youknow when you're 15, 16 and it's
your parents music you don'twant to.
Geoff (03:27):
You know, and how did you actually gain a vocabulary?
Did you transcribe uh, solosand things like that?
Andrea (03:33):
So, if we fast forward in time, I think I transcribed
my first solo when I was about20 or something like that
What was that?
It was Herbie Hancock Dolphin Dance
Wow, that's advanced.
It's a manageable one, that it's not too difficult.
It's got a nice little shape toit.
Geoff (03:49):
But the harmony's pretty sophisticated on that tune,
isn't it?
Andrea (03:51):
People go oh, you should do that, you should do that.
And then you do it and you'relike, oh yes, why didn't I do?
this After school did you go toand studied music at Cardiff
University?
I'm of an age where the onlyplace to study jazz would have
been Leeds College of Music,which didn't give you a degree.
(04:11):
So I think quite shortlyafterwards some of the colleges
started to offer degree courses.
The Academy may have started it, but actually, to be fair, at
that stage I wanted to be acomposer.
So I went and I did compositionas my main thing at Cardiff.
I think I came to jazz at anatural pace.
I don't think I was.
(04:32):
I loved all music at that age.
I wasn't ready to specialise andI also loved sport, so I
thought music college might befull of people who didn't like
sports.
Geoff (04:40):
Right.
And then, after being in Wales,did you move to London?
Presumably.
Andrea (04:43):
So I did a three-year course, then did a teacher
training course, which in thosedays meant you got a grant and I
started it.
And I was like, hmm, don't knowif I want to do that, because
actually I'd just done thesummer school at the Guildhall
and everyone was like you shoulddo the full-time course and of
course I'd started thiseducation course.
But I thought you know what?
(05:03):
What I'll do this because it'llbe good to have on your CV, but
also it's something to live onand I can practice all the time,
which is what I did, so yeah.
I did the Guildhall.
The postgraduate certificate,as it was known in those days,
probably would have been amaster's.
I like to say that because thereweren't any jazz masters when I
went to the Guildhall
Geoff (05:19):
And then you started working as a pianist.
Presumably did you
Andrea (05:22):
Oh yeah, I mean I've been doing lots of gigs.
Anyway, before I came to, youknow, um to to London, I've been
working in Cardiff with somebands, so if you went to the
Guild hall and you did getopportunities in those days,
Dill Katz actually the bassplayer was was somebody who gave
me quite a lot of work and gotme into venues like the 606 and
places like that which which wasgreat um.
Geoff (05:42):
Dill was amazing, actually, in fact,
that bass there that's.
I bought that base from DillKatz that's still my main bass.
Andrea (05:48):
Dorian's got one as well yeah and it's really important
you know, when you're unknown,to get yourself known and that
was a really good way to getaround, so I suppose I, I I do,
you know owe quite a lot topeople like Dill and Phillip
Bent for those opportunities,you know.
Geoff (06:03):
And what about teaching?
Were you always a naturalteacher, do you say, or is it?
Andrea (06:07):
I taught from the minute I could earn money from it.
So, when I was 15, everyone wasgetting jobs at McDonald's and I
was, like, didn't want to workon a Saturday as I just kind of
hinted that I love sports.
So I've always played hockeyand I play on Saturdays, so I
didn't want a Saturday job.
So I taught piano.
So I started teaching from home.
I had a few students.
(06:28):
I have to say I do enjoy it,but it's just nice to have a
regular income.
You know, it was just somethingthat I needed to do when I went
to London.
I didn't have a grant by thattime.
Geoff (06:39):
Yeah, yeah, yeah, do you run the Dordogne
Summer School, now
Andrea (06:42):
Jazz Summer School, yeah ,
Right, howdid that start then?
So my parents, when I was 21, said we're leaving,
we're selling our house inBirmingham, we're going to go
and live in France, which wasgreat in some ways, but also it
meant that if I wanted to seethem, I needed to go out there.
I mean luckily it's a beautifularea, it's the Dordogne.
(07:03):
So I have spent every summersince I was about 21 in the
south of France and then I hadtwo children and I thought it'd
be really lovely to spend a longtime out there.
So I thought if I'm going tojustify six weeks, I need to
have an income.
I think I'd done some summerschools before that, maybe the
Chelmsford Jazz Summer School, Ican't remember, but I'd done a
(07:24):
few little things like that.
But it was just such abeautiful location.
I was just like anyway, youfound a venue of some friends
and my parents run writingcourses and so we did it there
the first year and then we movedit after a couple years to
where it is now, which isChateau Montaton, which is just
incredible.
It's a really old castle andit's not posh at all.
(07:46):
It's just very basic, buteveryone loves it.
It's very outdoors.
The playing is in an outdoorbar, covered obviously, but
anyway, it's just a.
it's an experience.
It's called the MontatonExperience, Literally, we have
two thirds that come back everysingle year.
It's probably even more thanthat.
You know, people have madelifetime friendships from that.
We've had many marriages out ofit.
(08:06):
I tell you it's like LoveIsland , gone jazz.
It's great.
I also have to give credit toDorian Lockett, who is my other
half, but also he's brilliant atdoing the admin, because I'm
quite good at ideas, butsometimes you have to have
someone who's there to answerthe phone to do the emails so
it's a joint thing.
I'm the musical director andhe's the director of the whole
(08:27):
place.
Geoff (08:28):
How long has that been going now then?
Andrea (08:29):
We've had about 22 years .
I think Wow, 22, 23 years yeah.
Geoff (08:35):
But it's a big thing to organise, that isn't it?
It is All the travel foreverybody and you know the amps
and the pianos and all thatstuff that you have to do for
that everybody and you know theamps and the pianos and all that
stuff that you have to do, forthat it is.
Andrea (08:47):
I mean we, we have connections out there.
As I said, my parents lived outthere so we could store stuff
Geoff (08:50):
And you speak French, do you?
Andrea (08:52):
I do.
I would say, uh, I could alwaysspeak a lot better, but we run
our course in English.
But yeah, it's fine.
I mean we've got a very goodvenue.
We are hoping to have our ownplace there one day, so maybe we
can keep it all there.
But you know, you just build itup and build it up.
But I think when you've got asuccessful business it becomes
easier and easier.
The people who come on thecourse they basically know
(09:14):
everything.
So if you're someone new, Ijust go well ask them, you know,
and and literally they knoweverything about it, what time
they eat dinner, you know andthat.
But most of our everybody getsthemselves there now.
So we don't really pick anyoneup.
We just sort our staff out,that's it so you know, if you
want to come, you get yourselfthere and then you know we look
after you while you're actuallythere.
(09:34):
Fantastic.
Yeah, can we talk about jazzstandards?
What part has jazz standardsplayed on your development as a
jazz musician?
I think it's a canon for us to play together, quite
(09:54):
easily.
I think it's a way we can jam,we can connect very quickly.
It gives us core repertoire.
I mean in terms of teachingit's really good, especially
when you have sequences,harmonic sequences, that repeat.
It's just part of the jazzhistory.
Geoff (10:12):
Is it still relevant today, as it always was?
Andrea (10:15):
Oh my gosh it's got to be relevant.
It's got to be relevant.
I mean, you don't have to playin a specific way.
You can take a standard andcompletely deconstruct it, but I
think it's nice to have that asa basis.
Geoff (10:28):
Like a benchmark.
Andrea (10:29):
Oh gosh, yeah, and it just means that you and I can go
and play together, you know,without having to worry about
you know what we're going to do,we can just go through that.
Oh, do you know that tune?
Yeah, of course.
Geoff (10:39):
Yeah, yeah, yeah.
So I've made some apps calledQuartet, which I think you're
aware of right.
I am aware yeah, and I askedyou to pick a tune.
Which one did you choose?
Andrea (10:50):
On Green Dolphin Street played often in E flat.
It's also played in C, but Iquite like the key of E flat.
I don't know why I like the keyof E flat, maybe it just fits
nicely under the fingers on thepiano.
What I like about that tune isthat often it's played latin
swing, so you've got a littlecontrast of rhythm, but the
opening bit's a lot more open.
So I love music that's got openopenness so you can play a
(11:11):
little bit more modally and thenit's got the, the functional
harmony afterwards, so that'sprobably the attraction of it.
So you can be a bit wilder andcrazy in those sections
Geoff (11:20):
Right, okay, I'm going to give you two choruses to play
on the piano.
Great, okay, here we go.
Thank you, do so.
(13:09):
Thank you, yeah, how did thatfeel?
I think that was myself and RodYoungs.
You were playing along to there.
Andrea (13:23):
Oh, it was very nice.
It was very nice.
I was trying to be very relaxedbecause I was aware that you
were recording me and I was justlike.
So what I'm now thinking is, ofcourse, that was a real
accompaniment, that wasn't acomputer accompaniment, and it
definitely makes you feel farmore relaxed because it's just
like you're connectingrhythmically and harmonically.
But that was, yeah.
Geoff (13:45):
Well, I think that's what we're aiming for.
We're going for the iRealmarket, but much better.
Andrea (13:50):
Much better, yeah.
Geoff (13:51):
Yeah.
Andrea (13:52):
Much, much better.
Geoff (13:53):
Can we talk a little bit about the improvising process?
Let's just take the beginningof that tune.
Have you got any kind of ideasthat you might kind of go into
your solo with Anything you canlike, demonstrate on the piano,
anything you can play for us?
Andrea (14:07):
us.
I think pentatonic scales arebrilliant, so I do a lot of them
and then, probably taking apattern.
Also the idea of fourths,because I kind of like playing
fourths and the left hand andthat.
So my left hand kind of doesinform my right hand.
So if my left hand is playingthat it's quite likely I might
(14:27):
actually play and phrase it.
Geoff (14:38):
It just sounds like jazz, doesn't it, with fourths in the
left hand and pentatonics inthe right?
Andrea (14:42):
Yeah, pentatonics are great.
I teach that when I teach jazz.
I always focus on it and,sometimes I never get any
further than the pentatonicscale because they get enough
from it.
You know without having to knowit's this mode and this mode.
So yeah.
Geoff (15:00):
So are you thinking of E flat major pentatonic, or C
minor pentatonic?
Andrea (15:04):
You're thinking of both E flat major.
E flat major pentatonic.
Yeah, because it's like E flatmajor chord One two, three, five
, six, yeah.
I mean I think some of mylanguage, when I use that, is
very Chick Corea kind of focusedand sometimes McCoy Tyner.
Geoff (15:21):
I was going to say that, especially the fourth in the
left hand.
That's very McCoy Tyner, isn'tit?
Andrea (15:27):
And you wouldn't get it from that because I wouldn't
have got there.
But like, if you gave me quitea lot of choruses, I could
actually start being quiterhythmically kind of I will push
it.
So it might be I might dothings that take me completely
out the key, are either joinedby intervals or a rhythmic
pattern and I really like thatfact of going.
(15:48):
I sometimes don't even knowwhere I'm going, but I know
where I'm going to finish up.
That's the thing
Geoff (15:54):
But as you're approaching your solo, do you?
do you have a completely clearmind?
Andrea (15:59):
I think I do.
I don't think I have much of apreconception.
I don't think.
I don't think I play in a waythat is particularly like you
know it's.
It's obviously full of licksand full of like things, because
improvisation is not justmaking it up, it's just
recording stuff.
So I'll have probably practicedstuff or played tunes, but I
don't really think about whatI'm doing till I literally start
(16:23):
playing.
But as soon as I've played aphrase, then I think what
happens then is that I'mthinking, you know.
Geoff (16:29):
So you're listening to yourself and then reacting to
your own ideas.
Andrea (16:31):
Yeah, so I might go BABBA DOO, babba DOO, boo, babba
DOO DA, babba DOO, babba DOO,babba DOO DA, babba DOO DOO DA,
babba DOO, babba DOO, babba DOO,babba DOO, babba.
I'm singing in my head,basically the fact that I just
(16:58):
sang it out there can sing andplay, not that I, but people do.
Geoff (16:59):
That's a really valuable lesson, though, isn't it to be
able to sing what you can play?
Andrea (17:01):
Yeah, yeah, and that goes back to language, which I
started to acquire probably fromthe minute I was born, because
my bad dad was a jazz pianistand they were just obsessed with
jazz, but also goes along thefact that I've like start, I've
just done loads and loads oftranscribing.
Geoff (17:14):
When you transcribe a solo, would you extract licks
from that and ideas?
And then how would you usethose ideas if you do?
Andrea (17:21):
What you're saying is really good educationally and
originally no, but I had a verygood piano teacher who was then
later my line manager, which isSimon Purcell, and he loved the
idea of extracting licks so um,I mean, I don't even know if I
can play it now, just ad hoc,but there's a.
I was transcribing some ChickCorea from a concert of
(17:45):
schoolers jazz and it was called, uh, Fingerprints which is like
a play on, you know, Footprints, you know those kind of things.
And that's like I just I thoughtthat's something, so I tried to
use that idea, but I think theprocess of the transcription in
(18:07):
itself means that you absorb theinformation.
I imagine there are some peoplewho, like I will take the lick
and I will do it in 12 keys andthen I shall do this, but I
think I probably struggle to bereally, really efficient at that
.
I'd rather get on to the nexttranscription.
So right but I try and takethings out just for my own needs
and also because I teach, I'malways thinking, oh, that'd be
(18:28):
really good for that class.
So I think as a teacher I kindof grow as a musician because
I'm always thinking of something.
So therefore I probably makemore of an effort for the
students than I would for myselfbut, actually, I'm learning
from the process.
Geoff (18:39):
Yeah.
Yeah, I've got some questionsfor you, if that's all right.
Just to finish off, if that'sokay.
First question is what's yourfavourite album?
Andrea (18:50):
Oh wow, oh wow, okay, wow.
That's really hard, but I loveso many things it's so hard, me
too, I know.
It's so hard, and then sometimesI love things just because I
played the music, you know.
Geoff (19:04):
I mean, I think that the point about this question is is
we all have albums that havemade huge impressions on us,
haven't we?
You know, formative albums,albums that we've we've you know
, that have had profound effectson us as musicians.
you know, I suppose that's what,that's what I'm after
Andrea (19:18):
So I'm thinking of things that, as piano players,
are just outstanding.
There's a few that.
There's The Real McCoy, McCoyTyner, yeah, but then I love
like really beautiful music likeEsperanza.
I love her, her album EsperanzaSpalding.
Yeah, and I love Herbie Hancockand I love Miles.
I love Miles is like theconcerts, the 64 concert, yeah,
(19:39):
they do something that for thattime, is ridiculous.
So, MccCoy Tyner, rhythm, rhythmand just the intensity of him,
you know, and John Coltrane,it's just like, wow, the same
with Herbie.
So Herbie does these thingsthat are just like you know,
finds chords that they're justso magical you know, Really
(19:59):
really tricky question that.
Geoff (20:01):
Okay, there's a few more.
Andrea (20:02):
Okay, hopefully I'll be able to answer them, yeah.
Geoff (20:05):
Is there a favourite musician, alive or dead, that
you'd like to play with?
Andrea (20:09):
Well, I really liked Michael Brecker.
I well, I really liked MichaelBrecker I know everyone says, oh
yeah, I really like MichaelBrecker, uh, yeah, so that would
have been great to play withhim I really like Bill Stewart's
drumming.
Geoff (20:23):
He's great that's still possible yeah, Pat Matheny, he's
pretty cool.
What's the highlight of yourcareer or best gig moment so far
?
Andrea (20:33):
Well, there's the one that I would say is probably
what everyone would think wouldbe the best thing, which is my
gig at Ronnie Scott's in thepiano festival, which was quite
a few years ago when my trioplayed.
But I think emotionally, thething that I really got the most
out of was going to Croatia andplaying with Jazz ExTempore,
(20:55):
with a great guitarist calledElvis Stanic, and probably some
of the gigs that we did inBosnia.
Just incredible people singingall the tunes and especially
knowing they'd come out of thewar and we'd be driving around I
mean, this was quite a fewyears after the war, you know
they'd have whole we call themcheese houses, houses with
(21:16):
bullets in them, and then wejust go and do a gig and like we
play jazz, but they'd have likefolk melodies and they'd just
sing them.
I just couldn't imagine thathappening in the UK going and
playing and people singing alongto your gigs although, yeah,
although I know it does happenso, yeah, that's fantastic,
fantastic.
Geoff (21:33):
What was the last concert you attended?
Andrea (21:35):
I think probably, if I'm honest, because I spent a lot
of time with students.
I probably went to The OvalTavern to see to see a trio of
students from our college TheOval Tavern.
Geoff (21:43):
That's a yes that's still running, isn't?
it.
That's a that's been around fora few years
Andrea (21:48):
yeah, I mean, that just happens to be uh last gig I
attended.
Geoff (21:52):
What would you say is your musical weakness?
Andrea (21:54):
Probably playing On Green Dolphin Street in G-flat.
For me, the weakness bit isthere'll be people who will just
do it straight off, like Iheard you accompanying earlier
and like you were just reallygood, and I think although my
ears That- was a guitar, though.
Geoff (22:09):
That was yeah.
Andrea (22:11):
the difference is you just got to move your hand up a
fret or two so I think myweakness is is is just sometimes
being able to play tunes in allkeys right I think partly
because I'm probably not veryinterested in doing that.
If I'm absolutely, it's not,but I know people have ears
where they can just play thingsinstantly.
Geoff (22:32):
But that's a technical thing.
We've already talked about that, haven't we?
That's a technical thing ofbeing able to play in all the
keys.
You know that's.
I mean, it's difficult on thepiano, isn't it?
Andrea (22:41):
Well, I think so yeah, yeah.
I mean, we've all got limitstechnically you know, I think
I'm pretty good technically, butthen, there are some people
that are just outrageous youthen there are some people that
are just outrageous.
You know, you see them onYouTube, don't you?
Just ridiculous technique.
Geoff (22:55):
Do you ever get nervous on stage?
Andrea (22:57):
Not generally, but it does happen from time to time.
I don't know why I would getnervous.
There was one instance that Ifelt very nervous, but it's
because I wasn't prepared.
So I was in South Africa and Ihad been judging a jazz
competition, a Unisa jazz pianocompetition, and we did a
workshop in one of the musicschools and it threw me because
(23:22):
they asked us to play Body andSoul, each in our own way, and I
hadn't played the piano muchbecause I didn't.
I mean, we were judging and wedidn't have a lot of time to
practice and I knew the tune,but I didn't.
I mean, we were judging and wewere.
We didn't have a lot of time topractice and I knew the tune
but I didn't know it well enoughand I didn't have like 10
minutes to just check it out andobviously it's got those
horrendous you know modulations,which, if you just can't
(23:44):
remember it or you know, yeah,so we all got up to play.
Also, you know, we'd beenpartying a bit the night
beforehand and I literally cameout in a sweat because I, I felt
that I, I wasn't prepared and Ithink that probably is the yeah
, I think that's quite a commonthing, isn't it?
Yeah, you know, but the otherswere fine they seem to be really
(24:06):
okay with it and I felt very.
But I tell you what I did assoon as I got home I learned
Body and Soul.
I can play it really well now,so it had a very positive effect
.
Geoff (24:15):
But how many keys did you learn?
Did you really know it?
That's the question.
Yeah.
Andrea (24:21):
Yeah.
Geoff (24:21):
Yeah.
Andrea (24:21):
Yeah, but I think if you gave me half an hour to think
about what I'd probably do,think of it in a completely
different way I'd be looking atnumbers and going how does it
relate back to the original key?
Yeah, which I'd be great atteaching but, actually
remembering it myself, I had tohave to go through that process.
Geoff (24:36):
Right, right, right.
Okay, a couple of off-topicquestions.
What's your favourite sandwich?
Andrea (24:43):
My favourite sandwich is prawn mayonnaise.
Geoff (24:46):
Okay, what about a favourite movie?
Andrea (24:50):
Oh, it's these things again, isn't it?
It's like, oh my God, all right, okay.
Favorite movie oh, it's thesethings again, isn't it?
It's like, oh my god, all right, okay, all right.
I'm gonna say, um, I think it'sLeon.
Is it the one about the, the,the contract killer okay with
Natalie Portman yeah, okay, okayyeah, it's just so in.
I mean, there are probably otherfilms that I also like, but I
just remember it and that's whyI'm saying it, because the
(25:11):
opening scene is a girl who'sjust gone to get a pint of milk,
lives in a flat in France andLeon, who's the contract killer
who does assassinations andstuff, lives in the next flat
along.
Anyway, she goes out, gets hispint of milk and when she comes
back her entire family has beenmurdered.
I think her father was a drugdealer or something.
(25:33):
And she walks past her flat andsees the door's open and just
glances and then realises thateveryone is dead and knocks on
Leon's door and goes I've gotyour milk for you like this.
And that moment, that tension,oh my God, it's just like.
And he's like what milk, whatmilk?
What milk?
(25:53):
You know the milk that you know.
And you realize that if hedoesn't get let in, they'll know
that she's gonna you know she'sgonna die basically.
So, of course, the film's abouttheir relationship Natalie
Portman, who's about 12, with umwith William anyway, but it was
just it's.
It's it's when you get anintense emotional situation yeah
, yeah that, yeah, that yeah,makes an impression on you.
Geoff (26:15):
Yes, exactly, amazing.
What about a favourite venue toplay in?
Andrea (26:20):
I'd have to say the 606, because you know the piano's
great there and Steve's beenrunning it for years and years.
He's a great chap, and I had myalbum launched there recently,
so why wouldn't I say it was the?
Geoff (26:30):
606?
.
Andrea (26:33):
There you go um what about a favorite country or city
?
Well, I'd have to say London.
I mean I live here.
I mean, I have to say it, Ilive here well, that's yeah.
Geoff (26:40):
I think you're right to be honest.
All right, one last question uh, what's your favorite chord?
Andrea (26:45):
Well, I, I should say F7 , flat 9, because a certain, a
certain person has that tattooedon his leg, which would be this
one that, that's Lewis' 13 flat9, actually, oh, 13,.
I forgot the 13, yes, but isthat my favourite chord?
I'm a sucker for a firstinversion, so I'm going to go
for a first inversion with the9th, so this is their first.
Geoff (27:09):
That is nice yeah.
So, it's got a G in it as well.
Yeah, it's good yeah.
Andrea (27:13):
Yeah, yeah, it's good.
I like that.
I also like D, minor ninth,which is kind of the same as
well.
Geoff (27:22):
That's tell us what's in that one.
Andrea (27:23):
Okay.
So I mean it's quite hardbecause the soft pedal's on, I
can't hear very much, but it'sgot the root and the fifth and
the ninth.
The root and the fifth and theninth and then I'm scrunching
next to the ninth, the third andthe eleventh and uh and the
seventh, and then I'm doublingthe third at the top, but
sometimes I put a b in themiddle
that reminds me a bit of DonGrolnick.
(27:46):
Did you know he played that alot, didn't?
he yeah, I like those chords when I teach and I show
the students I go.
You can't play F minor likethat.
Why would you do that?
You can play it like this.
And they all go ah.
And the next thing they go.
I've written this song and theytake those chords and it's got
(28:07):
that.
I know.
Geoff (28:08):
That's exactly what I did when I first heard that, that
Don Gronick album.
I remember I learned aboutvoicings just from that, just
the way he spreads those chords,those gorgeous 13 flat nines
and amazing.
Yeah, it's an orchestra at yourhand, so you should use the you
should use the range.
Andrea (28:24):
So if I hear people just playing, you know, root
position, root position.
You know I'm not saying thatthere isn't a need for a G7
chord like that, but you knowthere's so much more.
I call it sophisticated.
They're sophisticated ways ofplaying chords, you know,
Geoff (28:40):
yeah, yeah, amazing.
Well, thank you very much foryour time and your lovely
playing
Andrea (28:44):
Well, thanks for talking about the things that I, I
enjoy talking about, which is alot of jazz and harmony.
It's my favorite subject
Geoff (28:50):
Me too.
All right, we'll see you verysoon.
Thanks, AndreaThanks, bye, bye.
Announcement (28:55):
Thank you for making it to the end of another
podcast.
Please subscribe if you want tohear more of them as they land.
The quartet jazz standardspodcast is a uk music apps
production.
Quartet for ios, taking yourjazz play along to another level
.
Search, search for Quartet onthe App Store or find out more
at QuartetAppdotcom.
Popular Podcasts
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
The Breakfast Club
The World's Most Dangerous Morning Show, The Breakfast Club, With DJ Envy, Jess Hilarious, And Charlamagne Tha God!