Jon Batiste

So this has a bit of a structure that is on the album, but every time I play it, it's going to be different.

So this has a bit of a structure that is on the album, but every time I play it, it's going to be different.

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Well, when you think about the blues and Beethoven's music, his music was actually deeply African, you know, rhythmically. There was this thing that's happening in his music that I really love where he's playing in two different times at once. He's composing and it's

Well, when you think about the blues and Beethoven's music, his music was actually deeply African, you know, rhythmically. There was this thing that's happening in his music that I really love where he's playing in two different times at once. He's composing and it's

Well, when you think about the blues and Beethoven's music, his music was actually deeply African, you know, rhythmically. There was this thing that's happening in his music that I really love where he's playing in two different times at once. He's composing and it's

in a two meter, one, two, one, two, which is like a march, and waltzes, one, two, three, one, two, three, one, two, three, one, two, three. So if you put the march,

in a two meter, one, two, one, two, which is like a march, and waltzes, one, two, three, one, two, three, one, two, three, one, two, three. So if you put the march,

in a two meter, one, two, one, two, which is like a march, and waltzes, one, two, three, one, two, three, one, two, three, one, two, three. So if you put the march,

And the waltz together, you get a two against three, an odd against an even, which is the West African rhythm, the 6-8 rhythm that comes from Africa that leads to the American shuffle rhythm, which is the clave of the blues, if you will. It's the base rhythm for so many popular styles of music and styles of music since the beginning of rhythm.

And the waltz together, you get a two against three, an odd against an even, which is the West African rhythm, the 6-8 rhythm that comes from Africa that leads to the American shuffle rhythm, which is the clave of the blues, if you will. It's the base rhythm for so many popular styles of music and styles of music since the beginning of rhythm.

And the waltz together, you get a two against three, an odd against an even, which is the West African rhythm, the 6-8 rhythm that comes from Africa that leads to the American shuffle rhythm, which is the clave of the blues, if you will. It's the base rhythm for so many popular styles of music and styles of music since the beginning of rhythm.

There's polyrhythms. Even in that short theme, you're hearing the two and the three. When you put those together, it creates something that is infectious that whether he was referencing that or not, it's something that's a universal, connective, magnetic truth in music. It's like things that make you cry every time you hear them, things that make you dance every time you hear them.

There's polyrhythms. Even in that short theme, you're hearing the two and the three. When you put those together, it creates something that is infectious that whether he was referencing that or not, it's something that's a universal, connective, magnetic truth in music. It's like things that make you cry every time you hear them, things that make you dance every time you hear them.

There's polyrhythms. Even in that short theme, you're hearing the two and the three. When you put those together, it creates something that is infectious that whether he was referencing that or not, it's something that's a universal, connective, magnetic truth in music. It's like things that make you cry every time you hear them, things that make you dance every time you hear them.

It's just something in the DNA of that sound.

It's just something in the DNA of that sound.

It's just something in the DNA of that sound.