When does Afro Blue and Smells Like Teen Spirit belong on the same record? When it's a Robert Glasper album! In 2012, Glasper's Black Radio brought together artists like Erica Badu to bring a jazz standard, Afro Blue, back into the popular music canon. Black Radio hit #1 on the jazz charts, while simultaneously reaching #4 on the hip-hop R&B charts and #15 on the Top 200.

The Blue Note pianist has been bending genres since the 90s, bringing together the best of traditional jazz and weaving it seamlessly with R&B, hip-hop, soul and rock & roll. And it all fits, because Glasper is equally at home in all of these categories. He grew up listening to all kinds of music, like Nirvana, Billy Joel, Busta Rhymes -- everything. Black Radio, he says, was a way to put his "life on wax".

Rob Harvilla from 60 Songs to Explain the 90s: The 2000s joins Adam and Peter to dive into what makes this album great, and how it refutes from any attempt to categorize it. From the J. Dilla Influence, to Casey Benjamin's album-defining flute, to the Erica Badu of it all, you'll never hear this album the same way again.

And this album inspired what is possibly our best YHI outro yet. Let us know if you agree!

Fleetwood Mac's Rumours is undoubtedly one of the best pop rock albums ever. But the story behind its creation reads like a soap opera. Everyone -- Stevie Nicks, Lindsey Buckingham, Christine McVie, John McVie, and Mic Fleetwood -- were enduring heartbreak during its recording. Stevie and Lindsey were breaking up. The McVies had already split, but John wasn't ready to let go. Even Mic Fleetwood was separating from his wife back home. For three months, they were stuck in a recording booth together nearly round the clock, singing each other's breakup songs and harmonizing with their exes.

Heartbreak is encoded in every song, from Lindsey Buckingham's "Never Going Back Again" to Christine McVie's "You Make Loving Fun" to Stevie Nick's "Dreams". But in spite of ... or maybe because of? ... this termoil, Rumours has become one the best selling albums of all time.

Peter and Adam listen to this pop rock masterpiece front-to-back, deconstructing each song (and the stories behind them) to understand what makes this album great.

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Keyboards? Albums we haven't covered. "Boomer" talk. We know you have opinions about this show. Help us make You'll Hear It better by sharing your feedback with us and answering a short survey. You could win one of three $100 Amazon gift cards! Visit youllhearitsurvey.com to learn more and fill out the survey.

Today we're going on an aquatic journey with Herbie Hancock's Maiden Voyage. Herbie calls the title track the best tune he's ever written. We dive deep into the music to explore what makes this tune, and this album, great.

The roots of Maiden Voyage date back in 1963, when Herbie began hearing rumors that Miles Davis wanted to hear him play. He didn't believe it at first -- Miles was at the height of his celebrity by this point. But soon he got a call. He went over to Miles's house and played with him, George Coleman, Tony Williams and Ron Carter for three days. On the third day, Miles asks the group to come to studio to record Seven Steps to Heaven. Herbie says, "Does that mean I'm in the band?" Miles says, "You're making the record, mother f**cker!"

After two years playing in what many call the one of the greatest jazz ensembles of all time, Herbie would release Maiden Voyage in 1965. Along with George, Tony and Ron, plus saxophonist Freddie Hubbard. Although it is one of his simplest tunes -- with a rhythm inspired by a cologne commercial -- Maiden Voyage would become a favorite and a standard among jazz musicians.

In this episode, you'll hear:
- Adam and Peter pick apart the greatest moments from the album, including some perfect solos
- The story of the commercial roots of this jazz standard
- Where the record got its aquatic theme
- Why a great song starts with a great bassline (just ask Ron Carter)
- How this record could have been even better ... if it weren't for that piano sound
- Where we land on Van Gelder Sound controversy

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Keyboards? Albums we haven't covered. "Boomer" talk. We know you have opinions about this show. Help us make You'll Hear It better by sharing your feedback with us and answering a short survey. You could win one of three $100 Amazon gift cards! Visit youllhearitsurvey.com to learn more and fill out the survey.

Want more Herbie Hancock content? Learn why Herbie's greatest era is not even jazz on last season's episode on Headhunters.

Broken Record's Justin Richmond joins us to talk Still Crazy After All These Years. Paul Simon's Grammy-winning album was born out of divorce, and produced some of his greatest songs of all time, like 50 Ways To Leave Your Lover, My Little Town and I Do It For Your Love.

We dive into the story behind this remarkable album, including Steve Gadd's famous drum beat and how Stevie Wonder's Innervisions may have been the catalyst for Paul Simon's divorce?! Plus - Adam shares why this has been such a transformative album for him, and how it influenced his playing.

And, we ask: Is this the ultimate sad boy album? Is this the apex moment of boomerism? We kick off our new season with these questions and so much more!

We turn our own categories back on ourselves! We're looking back on the past 20 epiosdes, which we're calling You'll Hear It Season 12, and ask:

- What are our apex moments?
- What are our desert island tracks?
- Is season 12 better than Kind of Blue?!

And - we hear from you, dear listeners. You sent in your questions on Speakpipe, and we answer them. Plus - look ahead at what's coming up next season.
☎️ Leave us a Speakpipe

New to You'll Hear It? Start with these apex moments:
🔴 What's Going On - Marvin Gaye
🔴 Talking Book - Stevie Wonder
🔴 (Honorable mention) Voodoo - D'Angelo

Larry Goldings' Jazz Organ Essentials:
🟠 Listen to Larry's favorite organ tracks
🔵 Start your FREE TRIAL to Larry's new course

The ultimate musical showdown: jazz vs classical. We bring in conductor Josh Weilerstein from the Sticky Notes podcast to compare, contrast and find the common ground among these two very different schools of music.

From Duke Ellington's swinin' take on Peer Gynt to George Gershwin's Rhapsody in Blue, we explore the tunes and the musicians blurring the line between jazz and classical. Josh, Adam and Peter each bring their own picks to the conversation, and have the best time breaking it all down.

Nerdy? Extremely. Snobby? A little. Fun? Heck yeah!

In this episode you'll hear:
- Ravel's Piano Concerto in G Major: Herbie Hancock vs the Cleveland Orchestra
- How Duke Ellington made classical standards swingin'
- Why Bartók matters to modern music
- Two very different interpretations of Rhapsody In Blue
- Brubeck’s Blue Rondo à la Turk: no improv, still loose
- Miles Davis and Gil Evans doing Adagio

Check out Josh’s insightful dives into the classical canon on Sticky Notes podcast

John Coltrane’s Giant Steps isn’t just a jazz classic — it’s a rite of passage. Peter Martin and Adam Maness dig into what makes the album so technically punishing and emotionally electrifying. From the iconic solo on the title track to the symmetrical harmonies, the lightning-fast chord changes, the fiery swing of Cousin Mary, and the full-throttle chaos of Countdown, they unpack the brilliance, the feel, and the mythology. Whether you’ve studied this album or are hearing it with fresh ears, you’ll come away understanding Coltrane — and Giant Steps — like never before.

You’ll hear:

- Adam’s deep dive into Coltrane’s use of symmetrical harmony and lightning fast chord changes — and why it still stumps players today
- A glimpse into Coltrane’s early years with Miles Davis and Dizzy Gillespie
- The truth about Tommy Flanagan’s controversial solo — was he lost or just playing it cool?
- How Giant Steps became the tune every jazz musician has to face
- Apex moments, desert island tracks, and a spirited debate: is Giant Steps better than Kind of Blue?

We’re sitting down with one of the greats! Organist Larry Goldings is in the house to spin the B3 tracks that shaped him – from Jimmy Smith’s revolutionary runs to Billy Preston’s blending brilliance behind Aretha Franklin. Along the way, Larry breaks down the nuts and bolts (err… drawbars and percs) behind his favorite players, offering expert insights into Larry Young’s pedal-less playing and Ray Charles’ “dry-as-dust” sound. And somewhere in the midst of Larry’s fave five, we get into how to find your own voice (and why it might involve throwing all these great records out the window). Whether you’re chasing that perfect drawbar sound or just here for Hans Groiner’s alter ego, this one will change how you hear the Hammond forever.

In this episode, You’ll Hear:

• Jimmy Smith’s masterful expression pedal comping and turnarounds
• How to build your organ sound through a track like Wild Bill Davis
• Why Larry listens to singers and horn players (it’s all in the breath).
• The power of the organ + guitar combo
• What Larry’s listening to these days

Start your FREE TRIAL to Larry’s new course: Jazz Organ Essentials | Open Studio

Watch Adam’s organ lesson with Larry: Jazz Pianist Has To Learn Organ In 14 Minutes