Jam session

Chase has moved to Nashville.

And now some other friends that I've met along the way inside of the Philadelphia Music Circuit, namely Bob Bradford, who I met at Open Jams.

I asked him to join on to fill in the shoes for Chase and just to continue it on.

And then my friends RJ, Ron Exotic, and he, I, he was initially a vocal student of mine and he had done some side work for me for this live venue that I was running to.

He owns it.

Caden and I would go to this thing called Jam Night in St. George, and it was Wednesday night jam night.

They'd have it every Wednesday night at this house.

There'd be like 100 people there, 200 people in a night just coming in and out, and they would just trade off these instruments.

Yeah.

The other thing I, I, the other theme I mentioned in the book that we haven't discussed is, um, Jamming.

You know, jamming is where it's like a little, it's a mini laboratory that jazz bands do.

We have a jam session, you know, where any people show up and we're going to sit up and play.

It wasn't aimed at the dance floor, but at the mind, and that shift influenced how record labels approached distribution.

Speaking of records, the 1945 Jam Session recordings captured Max's early experimentation with a new drum kit layout, adding more toms and a bigger hi-hat to allow for those extended phrases.

The recording technology at the time was still analog, but had begun to support higher fidelity, so listeners could pick up subtle nuances like his ghosted snare taps.

That technical leap meant that what Max did on stage could now be heard in living rooms across America, spreading bebop's radical rhythm.