April 12, 2024 • 13 mins
Discover the heartbeat of America with Dr. Sarah Roberts, interim director for the School of Performing Arts at UT Tyler, as she unravels the profound legacy of jazz during Jazz Appreciation Month. Gain insights into how this American art form, steeped in the melting pot of New Orleans, has left an indelible mark on our culture. From the historic rhythms of African American communities to the transformative sounds of Delta and Chicago blues, pay homage to the genre and its pioneers like Duke Ellington, while also spotlighting the fresh vibrancy brought by contemporary greats such as Maria Schneider. Learn how music education and performance at UT Tyler are key to preserving the rich musical tradition of jazz.
Step into the world of jazz education and experience how the universal language of music is taught to students of diverse backgrounds at UT Tyler. Peel back the curtain on the school's unique approach to fostering individual talent, as exemplified by the masterful Harry Carney and the iconic Cootie Williams. As we gear up for a summer filled with music camps and a special appearance by a guest trumpet artist from the Saturday Night Live band, catch the excitement buzzing through UT Tyler's Music Department. With a plethora of events scheduled to enrich our community this April—most of which are free to the public—Dr. Roberts extends a warm invitation to join in the celebration of jazz's enduring spirit and catch a glimpse of the future stars shaping its continuing legacy.
(Show notes are automatically generated and may contain phonetic spellings and other spelling and punctuation errors. Grammar errors contained in the original recording are not typically corrected.)
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
LANDESS (00:04):
23 years ago this month , the National Museum of
American History in Washingtoncreated JAM as an acronym that
stands for Jazz AppreciationMonth.
Ut Tyler connects with Schoolof Performing Arts Interim
Director, dr Sarah Roberts, tofind out why she celebrates it
every month of every year.
How come?
ROBERTS (00:23):
Because jazz is America's music.
We have to celebrate it all thetime because it's truly ours.
It's our American art form.
LANDESS (00:30):
That.
It is Now when UT Tyler Radiorevamped its programming this
spring, we added 19 hours ofjazz and someone asked me why
jazz?
So I gave them your cell phonenumber, is that?
ROBERTS (00:41):
okay, that's why it's been ringing off the hook.
LANDESS (00:45):
But when people ask that or say, why this big focus
on jazz?
ROBERTS (00:48):
Because Because if we don't talk about it and support
it, we're not continuing thetradition and we have to keep it
alive.
And regardless of whetheryou're a jazz performer or
you're listening, or maybe youdon't even know what jazz is,
it's our responsibility to keepthis American art form alive,
and the only way that we can dothat is continue to train
(01:09):
students to play it, continue tomake it popular and available
in any means necessary on theradio, for example, and continue
to program concerts thatfeature jazz and all of the
facets of jazz.
LANDESS (01:24):
Now I want to talk about the various programs that
you have going on this monthhere at UT Tyler, but let's step
back a little bit and talkabout jazz.
It is arguably one of the mostinfluential and meaningful
contributions to American lifeby African Americans to our
culture.
It has an extraordinaryheritage and history heritage
(01:49):
and history.
ROBERTS (01:49):
It definitely does it, you know, really came from this
place of merging cultures andmerging just different ways of
life.
You know, there's no pinpointof we can say on this day jazz
started.
But if you think back to thelate 1800s, early 1900s, you
know, especially in the South,especially New Orleans, it's
this melting pot of cultures.
(02:10):
In New Orleans there were sixopera houses in the early 1900s
Six, that's incredible.
And you know, jazz came out ofthis melding of all of these
cultures and it has itsinfluences in African music, in
Latin music and what washappening here in our country
and it kind of took all of thesedifferent elements and put them
(02:33):
together.
But even more so it was thismusic that was heavily started
and influenced by non-trainedmusicians that were taking the
elements from their culturesthat they knew and putting them
together.
LANDESS (02:48):
So we can look at the blues as being one of those
first genres, starting withfield hollers and gospel music,
and all of that put together.
ROBERTS (02:58):
And then we see that transition into Dixieland and
early jazz where the hornplayers are trying to play their
instruments like old bluesmusicians, with how they would,
you know, use their voices andplay notes that are in between
the pitches and slide into themand make guttural sounds and
(03:18):
really change.
The first jazz record, 1917,.
It was recorded by the originalDixieland jazz band and it
livery stable blues is one sideof the record and then there's
another tune on the other side,three minutes on each side,
right and records.
You know those round discs?
LANDESS (03:38):
Oh, yes, exactly.
And the old ones, the 78s, werelike a quarter of an inch thick
.
ROBERTS (03:43):
They were huge yeah, that sound of that record was
unlike anything that had beenbeing played on the radio waves
of that time.
You know, you think oftraditional American folk song,
that's pretty much what was onthe sound waves, on the airwaves
.
And when they released liverystable blues, it totally changed
(04:06):
what our entire population thenwas listening to.
That had a clarinet that wastrying to kind of be like a crow
and crowing and playingobligato lines, a trumpet that
was playing the melody and atrombone that was doing all
these like low slides, kind oflike mooing like a cow, because
(04:28):
they were trying to sound like astable and the tempo was peppy,
it was upbeat.
So if you compare that toAmerican folk music, this
changed kind of what everybodywas listening to and the fact
that radio was unifying ourcountry.
Now jazz just started to takehold but depending on where
(04:49):
you're at in the country, youalso have, you know, all these
different cultures influencingthat as well.
So you know, going back toblues, we could look at all
different centers in our country, the Delta blues.
LANDESS (05:00):
Delta blues, chicago blues, yeah, exactly.
ROBERTS (05:03):
And jazz kind of did that same thing based on the
players.
So if we look at swing music,for example, it moved.
Jazz moved up the Mississippiriver, so we have like a Kansas
city swing, chicago swing.
Then it moves over to New York.
That's different.
It finally reaches the WestCoast and we get kind of the
West Coast vibe.
(05:23):
So I think it's reallyinteresting to then look at all
these different areas in thecountry and how the music
articulates those differentareas and those cultures and the
musics of the population.
LANDESS (05:38):
I hadn't thought about it specifically in that way, but
certainly with blues I'm morefamiliar with that, probably,
than I am jazz, but knowing thatthere is I mean there is Delta
Blues, chicago Blues, bb King'sBlues Club in St Louis I mean
the way the influence on rockand roll country was a big part
in all of that here.
One of the great country albums, interestingly enough, was Ray
(06:00):
Charles, who was arguably quitea jazz musician jazz and blues
musician.
But I digress.
Let's go back.
I mentioned earlier that theNational Museum of American
History created jam and thisyear they're honoring Duke
Ellington, a Washington DCnative.
His parents were both pianistsand this would have been his
125th birthday.
(06:21):
His was one of the mostinfluential big bands and his
work inspired generations ofjazz musicians.
Do you love that big band soundand do you try to recreate it
in some of the performances wedo here at UT Tyler?
ROBERTS (06:34):
Definitely.
I'm so glad you brought up DukeEllington.
He is not just so influentialin jazz but in composition as
well.
He's one of our mostinfluential composers, not just
for jazz but orchestra and otherAmerican music, especially of
his time.
He was a very prolific composer.
But it's funny you mentionedthat because we're actually
(06:55):
playing an Ellington chart onour next concert with our jazz
ensemble and it's featuring oneof our trombonists who's
graduating this year.
It's a really great, reallygreat work and so we've been
studying that band sound and howto achieve sounding like Duke
Ellington.
And it's really funny when you,if you get a chance to look at
(07:16):
his original manuscripts andthere's some, some different
places where you can see thosein different libraries across
the country he didn't write inthe top of his parts Trumpet 1
or Alto Sax 2, typical labelingsof the parts he wrote for the
musicians that were in his bandand he thought about what each
musician could do.
So, case in point, Harry Carneywas a Barry player in his band
(07:42):
and he had a particular soundand a particular way that he
would play and how he would usehis vibrato, and so he would
write parts particularly for him, would play and how he would
use his vibrato, and so he wouldwrite parts particularly for
him.
LANDESS (07:57):
Or Cootie Williams was that's his nickname, but he was
a trumpet player and he did alot of different sounds with
mutes and plungers and thingslike that.
ROBERTS (08:01):
It was wah-wah before wah-wah, it was wah-wah exactly,
and so he wrote on the part forCootie.
There's actually a ballad forCootie, but it's really
interesting from a compositionalstandpoint that he took the
time to understand his players,understand what they could do on
the instrument and then utilizethat as a way of composing,
(08:24):
rather than you know.
Sometimes maybe we composesomething for ourself and we
don't think about who's actuallygoing to be playing it and how
it might sound.
LANDESS (08:32):
I was thinking about.
What was the?
It was an Academy Award winningdocumentary in the 70s from Mao
to Mozart we used to have.
Perlman went and visited theseChinese kids.
They're now embracing Westernmusic after it had been taken
out, and the kids are playing itnote for note, and he grabs the
violin.
No, it's not da-da-da, it'sda-da-da, da-da-da, da-da-da.
(08:55):
And these kids' eyes are justhuge because, yeah, it's the
same music on the same sheet.
But he had this understandingand brought this incredible
element to it.
ROBERTS (09:04):
Well, it's funny you say that I've had that
experience before when I was ingrad school.
Experience before, when I wasin grad school, there was a
group of us, a little jazz combo, and we traveled to China and
one of the things that we didwas working with this school,
teaching them how to put thejazz inflections into their
repertoire and how to actuallyplay the part, and none of us
(09:26):
spoke Chinese.
I take that back.
There was one of us you spokemusic.
We spoke music and so we wouldplay and then they would try and
imitate and you know, it was areally, really meaningful and
cool trip to see how theyapproached it differently than
knowing.
It's like learning a languageyou know and so you can learn
(09:46):
French from a textbook, but ifyou go to Paris you're going to
be immersed in it and it's kindof that same idea.
LANDESS (09:52):
But if you're American, they'll still hate you.
Yeah, true it just goes withthe territory.
Tell us about some of theupcoming events related to Jazz
Month here at UT Tyler.
ROBERTS (10:03):
Sure.
So we have our Swoop JazzCollective, which is our
ambassador jazz combo.
They're performing all over fora lot of different events.
I don't think people are askingthem because they know that
it's Jazz Appreciation Month,but they have a lot of
performances coming up, somewith the city, some just at
(10:23):
private events, some on campusfor different events Patriot
Premiere and things like that.
So that's really exciting.
And then, of course, we haveour concerts that are happening
with our jazz combo and thenalso our jazz ensembles, and
those are towards the end of themonth.
Just, you know, trying tocelebrate and program as much
(10:45):
diverse music as we can andreally celebrate, show the range
of jazz.
I think sometimes people willclassify one area as jazz and it
might be the area that theyknow, for example, big band
swing, and so with our JazzEnsemble, one right now, some of
the tunes that we've programmedare very different and a couple
(11:09):
are pretty modern to show.
We have the Duke Ellington tunethat I mentioned earlier, and
then we have a piece by MariaSchneider, who is a jazz
composer that lives in New Yorkand writes very modern colors
for the jazz ensemble, and a lotof the saxophones will double
on flute and clarinet, and youknow she's mixing with timbres,
(11:32):
and so it's kind of cool toprogram both of those composers
on one concert to see how farwe've come.
LANDESS (11:39):
Wow, that's amazing.
Now, last summer yourdepartment at UT Tyler sponsored
jazz camps, brass camps, drumcamps.
Are you going to do all of thatagain this summer?
ROBERTS (11:49):
Oh, definitely.
We are gearing up for our campseason happening in June and so
we have brass camp, camp andJazz Camp happening.
I believe it's the third weekof June and then, of course,
jazz Camp.
It's our seventh summer forJazz Camp, june 24th through the
28th, I believe, and I'm soexcited.
We are very close to announcingour guest artists and I won't
(12:12):
give away the name, but I willtell you what instrument this
person plays.
They're a trumpet player, sothis year is a trumpet guest
artist.
They are from New York and theycurrently are playing on the
Saturday Night Live band.
LANDESS (12:26):
And that's all I'm going to say, but follow our
socials because, we're aboutready to announce it.
Speaking of socials and ways inwhich to get information about
what you're doing.
There are so many events comingup this month.
We didn't want to pinpoint it,to put too fine a point on it,
so we could be able to hear moreabout this later on.
Where can folks go to learnabout what kinds of things
you've got planned for the musicdepartment?
ROBERTS (12:47):
Sure, april is the busiest month, probably that we
have all year.
Some nights we even have twoshows a night.
So they can find outinformation at uttyleredu slash
music.
Go to our performance calendar.
Everything is right there.
There's only one event that Iknow of that there are tickets
and those are $10 each, buteverything else is free, open to
(13:09):
the public, and we hope to seea lot of people there.
LANDESS (13:13):
Thanks for listening as UT Tyler Radio connects with Dr
Sarah Roberts, Interim Directorfor the University School of
Performing Arts.
For UT Tyler Radio News, I'mMike Lantis.
23 years ago this month , the National Museum of
American History in Washingtoncreated JAM as an acronym that
stands for Jazz AppreciationMonth.
Ut Tyler connects with Schoolof Performing Arts Interim
Director, dr Sarah Roberts, tofind out why she celebrates it
every month of every year.
How come?
ROBERTS (00:23):
Because jazz is America's music.
We have to celebrate it all thetime because it's truly ours.
It's our American art form.
LANDESS (00:30):
That.
It is Now when UT Tyler Radiorevamped its programming this
spring, we added 19 hours ofjazz and someone asked me why
jazz?
So I gave them your cell phonenumber, is that?
ROBERTS (00:41):
okay, that's why it's been ringing off the hook.
LANDESS (00:45):
But when people ask that or say, why this big focus
on jazz?
ROBERTS (00:48):
Because Because if we don't talk about it and support
it, we're not continuing thetradition and we have to keep it
alive.
And regardless of whetheryou're a jazz performer or
you're listening, or maybe youdon't even know what jazz is,
it's our responsibility to keepthis American art form alive,
and the only way that we can dothat is continue to train
(01:09):
students to play it, continue tomake it popular and available
in any means necessary on theradio, for example, and continue
to program concerts thatfeature jazz and all of the
facets of jazz.
LANDESS (01:24):
Now I want to talk about the various programs that
you have going on this monthhere at UT Tyler, but let's step
back a little bit and talkabout jazz.
It is arguably one of the mostinfluential and meaningful
contributions to American lifeby African Americans to our
culture.
It has an extraordinaryheritage and history heritage
(01:49):
and history.
ROBERTS (01:49):
It definitely does it, you know, really came from this
place of merging cultures andmerging just different ways of
life.
You know, there's no pinpointof we can say on this day jazz
started.
But if you think back to thelate 1800s, early 1900s, you
know, especially in the South,especially New Orleans, it's
this melting pot of cultures.
(02:10):
In New Orleans there were sixopera houses in the early 1900s
Six, that's incredible.
And you know, jazz came out ofthis melding of all of these
cultures and it has itsinfluences in African music, in
Latin music and what washappening here in our country
and it kind of took all of thesedifferent elements and put them
(02:33):
together.
But even more so it was thismusic that was heavily started
and influenced by non-trainedmusicians that were taking the
elements from their culturesthat they knew and putting them
together.
LANDESS (02:48):
So we can look at the blues as being one of those
first genres, starting withfield hollers and gospel music,
and all of that put together.
ROBERTS (02:58):
And then we see that transition into Dixieland and
early jazz where the hornplayers are trying to play their
instruments like old bluesmusicians, with how they would,
you know, use their voices andplay notes that are in between
the pitches and slide into themand make guttural sounds and
(03:18):
really change.
The first jazz record, 1917,.
It was recorded by the originalDixieland jazz band and it
livery stable blues is one sideof the record and then there's
another tune on the other side,three minutes on each side,
right and records.
You know those round discs?
LANDESS (03:38):
Oh, yes, exactly.
And the old ones, the 78s, werelike a quarter of an inch thick
.
ROBERTS (03:43):
They were huge yeah, that sound of that record was
unlike anything that had beenbeing played on the radio waves
of that time.
You know, you think oftraditional American folk song,
that's pretty much what was onthe sound waves, on the airwaves
.
And when they released liverystable blues, it totally changed
(04:06):
what our entire population thenwas listening to.
That had a clarinet that wastrying to kind of be like a crow
and crowing and playingobligato lines, a trumpet that
was playing the melody and atrombone that was doing all
these like low slides, kind oflike mooing like a cow, because
(04:28):
they were trying to sound like astable and the tempo was peppy,
it was upbeat.
So if you compare that toAmerican folk music, this
changed kind of what everybodywas listening to and the fact
that radio was unifying ourcountry.
Now jazz just started to takehold but depending on where
(04:49):
you're at in the country, youalso have, you know, all these
different cultures influencingthat as well.
So you know, going back toblues, we could look at all
different centers in our country, the Delta blues.
LANDESS (05:00):
Delta blues, chicago blues, yeah, exactly.
ROBERTS (05:03):
And jazz kind of did that same thing based on the
players.
So if we look at swing music,for example, it moved.
Jazz moved up the Mississippiriver, so we have like a Kansas
city swing, chicago swing.
Then it moves over to New York.
That's different.
It finally reaches the WestCoast and we get kind of the
West Coast vibe.
(05:23):
So I think it's reallyinteresting to then look at all
these different areas in thecountry and how the music
articulates those differentareas and those cultures and the
musics of the population.
LANDESS (05:38):
I hadn't thought about it specifically in that way, but
certainly with blues I'm morefamiliar with that, probably,
than I am jazz, but knowing thatthere is I mean there is Delta
Blues, chicago Blues, bb King'sBlues Club in St Louis I mean
the way the influence on rockand roll country was a big part
in all of that here.
One of the great country albums, interestingly enough, was Ray
(06:00):
Charles, who was arguably quitea jazz musician jazz and blues
musician.
But I digress.
Let's go back.
I mentioned earlier that theNational Museum of American
History created jam and thisyear they're honoring Duke
Ellington, a Washington DCnative.
His parents were both pianistsand this would have been his
125th birthday.
(06:21):
His was one of the mostinfluential big bands and his
work inspired generations ofjazz musicians.
Do you love that big band soundand do you try to recreate it
in some of the performances wedo here at UT Tyler?
ROBERTS (06:34):
Definitely.
I'm so glad you brought up DukeEllington.
He is not just so influentialin jazz but in composition as
well.
He's one of our mostinfluential composers, not just
for jazz but orchestra and otherAmerican music, especially of
his time.
He was a very prolific composer.
But it's funny you mentionedthat because we're actually
(06:55):
playing an Ellington chart onour next concert with our jazz
ensemble and it's featuring oneof our trombonists who's
graduating this year.
It's a really great, reallygreat work and so we've been
studying that band sound and howto achieve sounding like Duke
Ellington.
And it's really funny when you,if you get a chance to look at
(07:16):
his original manuscripts andthere's some, some different
places where you can see thosein different libraries across
the country he didn't write inthe top of his parts Trumpet 1
or Alto Sax 2, typical labelingsof the parts he wrote for the
musicians that were in his bandand he thought about what each
musician could do.
So, case in point, Harry Carneywas a Barry player in his band
(07:42):
and he had a particular soundand a particular way that he
would play and how he would usehis vibrato, and so he would
write parts particularly for him, would play and how he would
use his vibrato, and so he wouldwrite parts particularly for
him.
LANDESS (07:57):
Or Cootie Williams was that's his nickname, but he was
a trumpet player and he did alot of different sounds with
mutes and plungers and thingslike that.
ROBERTS (08:01):
It was wah-wah before wah-wah, it was wah-wah exactly,
and so he wrote on the part forCootie.
There's actually a ballad forCootie, but it's really
interesting from a compositionalstandpoint that he took the
time to understand his players,understand what they could do on
the instrument and then utilizethat as a way of composing,
(08:24):
rather than you know.
Sometimes maybe we composesomething for ourself and we
don't think about who's actuallygoing to be playing it and how
it might sound.
LANDESS (08:32):
I was thinking about.
What was the?
It was an Academy Award winningdocumentary in the 70s from Mao
to Mozart we used to have.
Perlman went and visited theseChinese kids.
They're now embracing Westernmusic after it had been taken
out, and the kids are playing itnote for note, and he grabs the
violin.
No, it's not da-da-da, it'sda-da-da, da-da-da, da-da-da.
(08:55):
And these kids' eyes are justhuge because, yeah, it's the
same music on the same sheet.
But he had this understandingand brought this incredible
element to it.
ROBERTS (09:04):
Well, it's funny you say that I've had that
experience before when I was ingrad school.
Experience before, when I wasin grad school, there was a
group of us, a little jazz combo, and we traveled to China and
one of the things that we didwas working with this school,
teaching them how to put thejazz inflections into their
repertoire and how to actuallyplay the part, and none of us
(09:26):
spoke Chinese.
I take that back.
There was one of us you spokemusic.
We spoke music and so we wouldplay and then they would try and
imitate and you know, it was areally, really meaningful and
cool trip to see how theyapproached it differently than
knowing.
It's like learning a languageyou know and so you can learn
(09:46):
French from a textbook, but ifyou go to Paris you're going to
be immersed in it and it's kindof that same idea.
LANDESS (09:52):
But if you're American, they'll still hate you.
Yeah, true it just goes withthe territory.
Tell us about some of theupcoming events related to Jazz
Month here at UT Tyler.
ROBERTS (10:03):
Sure.
So we have our Swoop JazzCollective, which is our
ambassador jazz combo.
They're performing all over fora lot of different events.
I don't think people are askingthem because they know that
it's Jazz Appreciation Month,but they have a lot of
performances coming up, somewith the city, some just at
(10:23):
private events, some on campusfor different events Patriot
Premiere and things like that.
So that's really exciting.
And then, of course, we haveour concerts that are happening
with our jazz combo and thenalso our jazz ensembles, and
those are towards the end of themonth.
Just, you know, trying tocelebrate and program as much
(10:45):
diverse music as we can andreally celebrate, show the range
of jazz.
I think sometimes people willclassify one area as jazz and it
might be the area that theyknow, for example, big band
swing, and so with our JazzEnsemble, one right now, some of
the tunes that we've programmedare very different and a couple
(11:09):
are pretty modern to show.
We have the Duke Ellington tunethat I mentioned earlier, and
then we have a piece by MariaSchneider, who is a jazz
composer that lives in New Yorkand writes very modern colors
for the jazz ensemble, and a lotof the saxophones will double
on flute and clarinet, and youknow she's mixing with timbres,
(11:32):
and so it's kind of cool toprogram both of those composers
on one concert to see how farwe've come.
LANDESS (11:39):
Wow, that's amazing.
Now, last summer yourdepartment at UT Tyler sponsored
jazz camps, brass camps, drumcamps.
Are you going to do all of thatagain this summer?
ROBERTS (11:49):
Oh, definitely.
We are gearing up for our campseason happening in June and so
we have brass camp, camp andJazz Camp happening.
I believe it's the third weekof June and then, of course,
jazz Camp.
It's our seventh summer forJazz Camp, june 24th through the
28th, I believe, and I'm soexcited.
We are very close to announcingour guest artists and I won't
(12:12):
give away the name, but I willtell you what instrument this
person plays.
They're a trumpet player, sothis year is a trumpet guest
artist.
They are from New York and theycurrently are playing on the
Saturday Night Live band.
LANDESS (12:26):
And that's all I'm going to say, but follow our
socials because, we're aboutready to announce it.
Speaking of socials and ways inwhich to get information about
what you're doing.
There are so many events comingup this month.
We didn't want to pinpoint it,to put too fine a point on it,
so we could be able to hear moreabout this later on.
Where can folks go to learnabout what kinds of things
you've got planned for the musicdepartment?
ROBERTS (12:47):
Sure, april is the busiest month, probably that we
have all year.
Some nights we even have twoshows a night.
So they can find outinformation at uttyleredu slash
music.
Go to our performance calendar.
Everything is right there.
There's only one event that Iknow of that there are tickets
and those are $10 each, buteverything else is free, open to
(13:09):
the public, and we hope to seea lot of people there.
LANDESS (13:13):
Thanks for listening as UT Tyler Radio connects with Dr
Sarah Roberts, Interim Directorfor the University School of
Performing Arts.
For UT Tyler Radio News, I'mMike Lantis.
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On Purpose with Jay Shetty
I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!