Jon Tigert is our guest this month! He is a DJ, musician, emcee and international Lindy Hop instructor based in Baltimore, USA. The bandleader and drummer for the Corner Pocket Jazz Band, Jon very nearly spent his life in musical theatre and not the swing dancing community.
If you'd like to find him online to nerd out about music, his handle across the platforms is @jontigert.
If you'd like to enjoy our carefully arranged Instagram feed, you can follow us @desertislandjams
If you'd like to help contribute to the costs of running the show, please see the link at the bottom.
If you'd like to contribute to the ego of the host, then please leave a review if your chosen listening platform allows.
You can find the Spotify listen along playlist here
You can find the transcript by following this link.
Jon Tigert is our guest this month! He is a DJ, musician, emcee and international Lindy Hop instructor based in Baltimore, USA. The bandleader and drummer for the Corner Pocket Jazz Band, Jon very nearly spent his life in musical theatre and not the swing dancing community.
If you'd like to find him online to nerd out about music, his handle across the platforms is @jontigert.
If you'd like to enjoy our carefully arranged Instagram feed, you can follow us @desertislandjams
If you'd like to help contribute to the costs of running the show, please see the link at the bottom.
If you'd like to contribute to the ego of the host, then please leave a review if your chosen listening platform allows.
You can find the Spotify listen along playlist here
You can find the transcript by following this link.
Hi, i'm Jon Tigert, you might know me well no, you probably don't. But this is Desert Island Jams with Sarah Spoon.
Sarah Spoon:Hi, I'm Sarah Spoon, and this is Desert Island Jams, a monthly podcast where I sit down with the chief music nerds of the Lindy hop and blues dance communities and talk about the 10 songs they would take with them on a tiny mp3 player to a desert island. My guest this month is Jon Tigert, and he is based in Baltimore. Jon is a Lindy hopper. He is a teacher, he is a DJ, a very good DJ, he is an emcee, a very good emcee. He is the bandleader of the Corner Pocket Jazz Band, he plays drums in that. And what you may not have known is that he seriously considered going into musical theater instead of Lindy Hop, but we'll get to that in a bit. Officially, welcome to Desert Island Jams.
Jon Tigert:Whoo. I'm excited.
Sarah Spoon:Yeah, I really enjoyed your playlist in a way that I haven't with some of the other guests, not to throw shade on any of the other guests. But there are a couple of songs on here that I was like, Ah, this is a really fucking good choice!
Jon Tigert:This was so... this was a weird exercise to do. I have to be honest. Because I wanted to like cheat the system, but also be true to the spirit of it. So like I definitely picked long songs so that I would have more music on the island.
Sarah Spoon:That's fair, but I hate to break it to you, Ryan, our first guest had longer songs than you.
Jon Tigert:I feel so much better then, because it turned out as I was going through that I was like, No, these are just legitimately what I want to listen to.
Sarah Spoon:Yeah, a great, great mix. Let's kick off with the first one Jason Mraz, Dream Life of Rand McNally. I actually had to Google who Rand McNally was, and it's a mapping technology company is that like,
Jon Tigert:kind of so like when we were young, when we when we were in elementary school, or primary school, we had these like little atlases, and you'd maybe color them in, or write in the the names, and they were all made by this one company named Rand McNally. And so I don't know if that isn't, that might be a purely American thing. I don't know.
Sarah Spoon:And is the the like, the map connection, you're thinking map, desert island, or is it because he sings about lots of different locations in the song? Or is it just because it sounds like it's a teen movie from the 2000s, or
Jon Tigert:it's a little bit more of a nostalgia pick, honestly, cuz it is an album that I listened to when I was in high school in the early 2000s. And it's just, there's a lot of just kind of like, playfulness in it, which I really enjoy. It really just makes me happy. And I like how it morphs from this Dream Life of Rand McNally nonsense chaos song into a really popular song that everyone knows and then morphs back through some like, real, real chaotic jamming. And, I'm particularly fond of the banter halfway through, where he's like, take a solo for me, and he's like, okay, no, for you, for me. And like they, they just talked about who's not taking a solo at that time. And it's really like one of those charming human moments in music that I really value.
Sarah Spoon:Yeah, it was super sweet. And so I liked this being the first one because it was like the opening credits to your desert island jam movie.
Jon Tigert:Oh, I like that. I like that a lot. Also, Jason Mraz, if you haven't given him a chance, just to like the people in the world. The studio recordings are fine, but he's one of those people that live is such a different experience. And so like, go listen to the like, 2001 live album, and it'll, like, it's absolutely brilliant. Some of the stuff in that whole album. It's just so clever anyway.
Sarah Spoon:Anyway, so the second song I think is my favorite on all of them the upright bass played with the bow, it's so good, I was delighted.
Jon Tigert:And this is the newest song to me on the list. Like this, this honestly popped up on a Spotify radio that was built on like Nickel Creek and Kristy Lee and I'm With Her. And it just struck me and it's stuck with me for like a year now and I can't get it out of my head and the more I listen to it, the more I love it, and it just like paints this beautiful story and picture and the the message that I've put behind it is something that like, has helped me persevere in a sense? The song is about another singer so you gotta like song within a song it... but basically this other singer that the song is about. He says, 'I got a soul that I won't sell. And I don't read Postcards from hell, and that's why he plays his blues so well' and like, I got a soul that I won't sell and don't read Postcards from hell basically to me is like, stick to your guns. Don't take the shit from people. Right? It, because It's not about like conforming to other things, because that's when you lose. That's when you sell your soul and you lose it. And if you take in all those Postcards from hell, which can be like Internet comments, or just like whatever it is in today's world, and then this song just also struck me because like the way it's phrased like, I can just picture this old singer, kind of like old Lindy hoppers who just don't really give you real advice. They just tell stories. [Sarah Laughs] And he's like, Hey, I could just like picture this dude walking up to this old, old blues singer in this crowded bar and he's like, Hey, man, you play amazing with like, what what have you been working on? He's like, man, I got a soul that I won't sell, an' I don't read Postcards from hell. You walk into the park, you're like, what did I just learn? I thought he was gonna teach me about chords and, or steps. And so it's, again, like, it reminds me of people that I like, it reminds me especially of Norma, because Norma was that way. Where you'd be like Norma, How do you do this step? And she'd be like, 'you're not feeling it right'... Like, that doesn't help me!
Sarah Spoon:If someone was to come up to you, and you wanted to give similarly unhelpful advice for advice, like, if I was like, Jon, how, what's your secret? How do I how do I get to where you are?
Jon Tigert:[laughs] Well, one, don't. No one wants to be where I am. That's not true. But let's see. I don't know. Look, we come back to it after the song. Can we do?
Sarah Spoon:All right, well, then I'll put the song on and you have a little thinky.
Jon Tigert:This is great. That's a great question. I should also mention that this was a particular Desert Island pick, I had a couple songs, and, so like, kind of each one of these is a different genre for me, like category of music I like and a reason that I'm picking this one...a reason I'm picking this one and it's a theme of a lot of these is that kind of continuous drone. So you have that just like Dude, bah bah, bah. It's just always churning always going.
Sarah Spoon:Yeah, it's got a kind of timeless but new vibe.
Jon Tigert:Yeah yeah, absolutely.
Sarah Spoon:Okay, what would your advice be?
Jon Tigert:Keep the beat and give it away. To keep the keep the beat is borrowed from Norma, which I was obviously thinking of already.
Sarah Spoon:Blossom Dearie, 'I walk a Little Faster'. Oh, dusty, smoky loveliness. This is what, a sunset with a coconut in your hand looking over the water?
Jon Tigert:So this is actually the first idea I had for the song that was going to be mine and Samantha's first dance at our wedding. And I heard it in Herrang for the first time. Because I always find Blossom Dearie really comforting when I miss whatever, when I miss something.
Sarah Spoon:I mean, she had a really long career, I didn't actually realize that she only died comparatively recently in 2009. Whereas like when I think of Blossom Dearie, I think like, of 40s and 50s. But she didn't really get going until the 50s. And then she just kept on going
Jon Tigert:Well, and I didn't realize for a long time that she was also the piano player. And like for so many years, I just thought she was like kind of this cutesy singer and then I saw a video of her playing piano it's like, ohhhhh, everything makes so much more sense now. And so Blossom Dearie is someone who like, eked her way into my heart. I had, she was she was so smart and so talented and really deserves a lot more attention than she gets.
Sarah Spoon:Yeah, I think it's the cutesy voice. I think people are like, ahh, this is like baby jazz. And you're like, no, there's there's a time and a place where it really contrasts really nicely.
Jon Tigert:Do you know what Schoolhouse Rock is? In the UK? By any chance? Okay, so that was a series of, again, we're going back to childhood. It's educational cartoons. One of the most famous which is obviously an American is [sings] 'I'm just a bill up on Capitol Hill. And some day I'll be a law'... or something like that. But it's like little cartoon songs that teach you about whatever the alphabet, and so Blossom Dearie did a lot of those songs that a whole generation of now millennial Americans watched in school growing up. So when I started hearing her at swing dances, I was like, is what? Why are people playing kids music? So like, in my head, she was a kids music singer. And then I found all these recordings of her doing this like beautiful, elegant piano ballet stuff and it's just fantastic. You know what I love about that? The very last thing she does is[sings] 'I walk a little, faster'. And she like, speeds up into that last 'faster' Just a little. So it's like, oh, this little subtle, wonderful moment.
Sarah Spoon:It's a very subtle song and there's so many layers. So if you listen to it, you're like, Oh, it's like a slow, jazzy thing. And then you listen to it again. You're like, Oh, yeah, listen to this, but like, but also this bit over here.
Jon Tigert:Desert Island. You gotta get songs you can dig deep into
Sarah Spoon:Yeah. Oh, like I would dig my toes into the sand while listening to this for sure.
Jon Tigert:Yeah. Yeah.
Sarah Spoon:And then a complete contrast. And I really appreciated that you followed Blossom with this song because the groove on this is so damn good.
Jon Tigert:Okay, this was probably the hardest pick, honestly, there's so many possibilities of what this could have been. And this is just kind of like the 60s 70s funk party vibe that when I need to just like blow it all out. And this is like the most stereotypical pic of all time.
Sarah Spoon:I mean, it's a classic for a reason.
Jon Tigert:Yeah, it's a classic because it's one of the literal best and it doesn't get old.
Sarah Spoon:And you said in the notes that it was the it was the video for it that clinched it.
Jon Tigert:Oh, Well the video for it is a psychedelic LSD trip nightmare. It's amazing. No. So I was going through all of all of the like Motown and funk and disco hits that I wanted to throw in. And I was doing it on YouTube. So I was watching all these music videos from the 70s. And they are wild. They are insane. The horns, the horns are so good.
Sarah Spoon:The chunkiness of the beat and the way it like..
Jon Tigert:Yeah! Oh, I mean, Earth Wind and Fire is like one of the tightest bands that ever existed.
Sarah Spoon:E-ver!
Jon Tigert:so good.
Sarah Spoon:I was really surprised to see the next track,'All the Wasted Time' by Jason Robert Brown and the cast of Parade the Musical. I know nothing about musical theater and I had no idea you were a musical theater nerd. [Jon laughs and groans] So tell us about your hidden love.
Jon Tigert:So I got into musical theater when I was about 14 or 15. And that's actually what led me to auditioning for music schools. So I studied opera, actually in university
Sarah Spoon:I did not know that!
Jon Tigert:Yeah. So if I were following my my college studies, I would be off doing young artists programs, like internships with opera programs. I didn't do that. I wanted to get into musical theater. So I basically took the classical music route and then took a bunch of dance theater classes as well. All while learning Lindy Hop at the same time I feel like any other musical theater people are gonna like really roll their eyes at those pick
Sarah Spoon:why?
Jon Tigert:Um, Jason Robert Brown is is kind of like the kind of like the Coldplay of the 2000's /90's musical theater world for like,
Sarah Spoon:is this a Lavender Coffin but musical theater?
Jon Tigert:Jason Robert Brown, like, it's kind of one of those like this is what everybody would say is like their favorite song when they discovered the bigger world of musical theater. So yeah, Lavender Coffin's a good a good parallel. Parade is his like, least popular musical that he did.
Sarah Spoon:Okay, so this makes it a cooler bad choice? Cooler, less cool choice?
Jon Tigert:It's a cooler bad choice. But again, this comes from like, it's been a part of my vocabulary for a long time. Did you look up anything about the show at all for like the premise at all?
Sarah Spoon:I had a look at the plot outline. Wikipedia is my friend. That's a very particular song..
Jon Tigert:It is!
Sarah Spoon:From a very particular plot... so I'm in intrigued as to why this one??
Jon Tigert:So Okay, there's great therapeutic joy in singing as loud as you can, in a way that feels good, in the same way like there's great like physical joy and like a good swing out, you know? So this is a song that I will put on an on a road trip and just like yell along with, which has certain merits. I know, contextually it's a weird choice.
Sarah Spoon:I mean, surely you can yell slash sing along to so many other songs out in that canon!
Jon Tigert:Musically, this one gets me man. I like the harmonies. I like the movement of it. And as a I was born and raised in the south, so the wife, Lucille, I have a deep affection for her, like deep, rich Southern aristocrat accent. And I find that a little comforting, I guess.
Sarah Spoon:It's cool.
Jon Tigert:I don't know. I just liked this song. It's moving. It's sweeping. It makes me want to sing along to it. I like the harmony of two voices together. It's something we don't get a lot in jazz. And it has a lot of power. Just two voices and what they can do together. So when that you have, you know, do you have Leo Franks, first part and then you have the wife, Lucille part and then the third part they come together and when they come together, and especially when it modulates up the key like it's hard not to get swept up in that. It's a real power grab and, urgh!
Sarah Spoon:I'm gonna play it, if you want to sing along. I'm not gonna stop you.
Jon Tigert:Probably not
Sarah Spoon:Next up we have a spot of choral music.
Jon Tigert:Eric Whitacre is kind of like the Lavender Coffin of choral music. But again, this is a lesser popular choice of his. He's a modern composer and he does a lot with acapella choir in a way that's really interesting and kind of modernist and creates these like vast kind of pictures. There's a moment in the middle of this, and the text from this is from an E Cummings poem. And I'm gonna preface this a little bit because there is some like religious music that comes up, because this this is vaguely religious. And then later on, I know there's another one. I don't subscribe to those religions. But I'm not gonna leave all that great art aside.
Sarah Spoon:It's fucking beautiful!
Jon Tigert:There's a moment in the middle of this, where you'll hear the The Sopranos and altos just have this [sings] 'wings'. And they'll hold this. And it's almost like this high droning moment. And then just this swell of tenor and baritone voice and tenor underneath, coming in. And it's like, it's like swimming in sound.
Sarah Spoon:It's around the two minute 30, yeah?
Jon Tigert:yeah. And there's something just so glorious about that moment of just feeling like you, you are the meat of the sound sandwich. Like when people talk about music that sweeps you up, two minutes and 30 seconds into this is what they mean,
Sarah Spoon:I got your note and I was like, prepared for some big thing. And instead,
Jon Tigert:No, it's so small,
Sarah Spoon:incredibly subtle, and layering and textural. And I was like, I have no idea what I'm listening to. But it's really pretty,
Jon Tigert:it's really lovely. There's another moment just after that where actually you have, and this is something you kind of have to like look at in the score, but you have essentially the top voices all coming down. And you have the bottom voices all coming up. And then just on the word 'hue' of'human', Everybody in the choir sings the exact same note on the word 'human' in this kind of like unifying, really beautiful, like painted idea of because you've just come from this really like ridiculously large chord that shouldn't exist that for some reason, Eric Whitacre made sound good. And it just kind of blends down into this one note and you're like,[sounds cutsey] ah, everybody's the same. We're all humans anyway. That's my..
Sarah Spoon:[laughs]
Jon Tigert:although on a desert island, who cares? I'm the only one! but like famously among the 20 people who care, two versions of this. And part of it is Eric Whitacre talked about how the ending section was actually originally totally different. And it was because he was debuting it with two other songs. He was like, Oh, I can tie them together and I can put this, this ending and it, he actually, like wrote a blog post about it and put it up. He was like, Hey, here's the new version. Don't do the old version. It's unnecessarily hard. It's needlessly busy. And I don't like it. Please don't do it anymore. So I really had to make sure to find the recording that had the new slash old ending, and it's much better.
Sarah Spoon:Next on the list is'Dazed and Confused' by Led Zeppelin, which is scorchingly excellent.
Jon Tigert:So my aunt gave me the Count Basie and Frank Sinatra 'Live at the Sands' CD. She was like, my first jazz album. I loved it. But at the same time, my dad was driving me to school in the morning, and he was really contributing to my classic rock education. So with dad, we listened to a lot of The Doors, a lot of The Kinks. And for some reason, like 12/13 year old me, latched on to Led Zeppelin, hard. And then later in life, I became a drummer and rediscovered my love for Led Zeppelin through John Bonham's drumming, because I understood it so much better. So this could have really been any long, live Led Zeppelin recording.
Sarah Spoon:This one's really energetic, yeah, recorded in'69. But they only formed in, what, 68 so this is still when everything is super fresh for them
Jon Tigert:Fresh. And especially this, you hear a lot of that, like Delta Blues influence that they pulled from, which is super nice. And again, a theme of like my, I realized this now as listening to it, a theme of one of the things that I'm, I'm getting at is like, kind of a drone with layers on top. And so this, that baseline, and then just building all the layers on top is kind of like you know, the last time you had the one voice and then you build the layers under.
Sarah Spoon:Well, now I know you're I mean, obviously you're going to be Bonham, but would you be Plant or Page?
Jon Tigert:Ah, I, I would be a Plant person.
Sarah Spoon:Okay.
Jon Tigert:I was a plant person initially, but my dad's the guitar player in the family.
Sarah Spoon:Okay, for those of you who are listening who don't know, Page was responsible for the music and Plant was responsible for lyrics most times.
Jon Tigert:For those of you who don't know,
Sarah Spoon:someone had never heard classical music before, and the word 'classical' meant nothing to them, how would you describe the Firebird Suite to them?
Jon Tigert:Uhhhh... It's the biggest band you can imagine playing glorious music that will sweep you up. And you'll feel, you'll physically feel if it, if you're there. And it should, like, should literally shake you to your core. Yeah. I think that that's all, like it... It's also not electric. So the part we're going to listen to in Firebird is, is you have to imagine that you just lost everything, everything is gone, everything is destroyed, you can't move, there's nothing. And then you're just laying in darkness and descending and leaving consciousness in the earth. And then what you hear to bring you back into the light into to to life is this one incredible French horn solo that starts it. And it made me fall in love with this instrument. And then that horn is like the one beacon of life that brings this entire 150 person orchestra back into this giant groundswell of rebirth and rejuvenation and gloriousity. Gloriousity. That's a word that I invented right now. Classical music people will be like, why did you pick Firebird? or Why didn't you pick Rite of Spring? It's technically better and more interesting. Yeah, sure, whatever. I don't care. This. This moves me more. Also, this is a ballet, which is a nice touch. Because as dancers like it, it does convey movement. Like when you have that kind of groundswell of the horns that starts to build toward that big finale, it makes you want to move with it, which I think is something I find really valuable in music. Music that invokes a physical movement.
Sarah Spoon:Yeah. And if you can't move, you can feel like your stomach moving for you. ,
Jon Tigert:Yeah, yeah. Okay, you were talking about your movie soundtrack. This just hit me. This Firebird, is, especially the part we're gonna listen to. This is like day three on the island. It's been raining, you haven't eaten yet you haven't found freshwater. And you're like, just ready to give up and just walk into the ocean. And then you're like, hitting these rocks together and you're pissed and just don't know what to do anymore. And you're crying and you're screaming, and then you start a fire. And that spark is the French horn as it comes in. And then it grows. And as this fire grows, the orchestra swells and then you have this glorious sign of life on on your dead island of this glorious fire that can sustain you and that's what this orchestra is. It's just amazing Stravinsky is... mmm... maybe the greatest musical mind of the species.
Sarah Spoon:Are you sure about that?
Jon Tigert:No!
Sarah Spoon:Who would be contender? Who if it was gonna be like the Battle of the musically minded of the species? Who are his contenders?
Jon Tigert:[sighs] I mean, Beethoven is obviously the favorite here in terms of my greatest musical minds of all time. This is a real tangent on the show,
Sarah Spoon:but Beethoven isn't on your list?
Jon Tigert:No, but he wrote a beautiful vocal piece called Adalaide, which could have made the list. I mean, Beethoven Mozart are up there Stravinsky, I think, it's you... can't compare them because one can't exist without the other. It's like saying is Shorty George or Frankie Manning better, it's like well, without Shorty George you can't have Frankie Manning. So, so certainly, like, of his time, Stravinsky is I think the most important and the smartest and the best, there'd be a close second for Debussy in that range. And also, I think, next on the list or two next on the list is Gabriel Faur And he's not nearly as prolific or as brilliant, but what he did he did really well,
Sarah Spoon:I had never heard of him. Who Who is he? Why, why did he deserve to come on the list and not Beethoven?
Jon Tigert:Gabriel Faur is a turn of the century 1800s becoming 1900s composer, he was friends with Maurice Ravel. I mentioned earlier Debussy, there's some other French composers and they were all kind of playing with this idea of what harmony meant? And like really expanding the the realm of harmony beyond just like a three note chord, or a four note chord, and kind of putting notes and chords together that shouldn't work. But really do. Debussy on the other side of things that, like, in their kind of French friend camp was like,'yeah, form that's not a thing anymore. Just doesn't exist. There's not a beginning and a middle and an end. It just goes' but I mean, like they were working in kind of like what we would consider like an AABA structure forever. And then and you know, there's other forms and then Debussy was just like, Nah, no thanks. And so like Faur kind of falls into this realm. And again, this is this is really religious music. This is a requiem. I need to preface a little bit why I picked this one.
Sarah Spoon:What is a requiem?
Jon Tigert:Ah, okay, so a requiem is a mass for the dead. So when someone important in the Catholic Church dies, you'll have a requiem mass. So it's all taken from the original text of the, the, like Roman Catholic, what they would say, and they would set it to music. So it would just be kind of like a big concert, I guess? I'm not Catholic, I've never actually been to one. It's.... Think of it like, a requiem was like an album. Basically, it's seven songs that are meant to be listened to in this order. You perform it all together, you could do just one piece, but it's super weird,
Sarah Spoon:which of the seven, are we about to listen to?
Jon Tigert:So we're in number four, Agnus Deis, or basically'strong God'. But the reason it's important is for a part again, in the middle, the first two minutes are fine and lovely. The the very first movement, which we're not going to listen to starts with just this one giant organ hit, [sings]'BAHHHM', again, one single note. And then the chorus comes in [sing]s 'Requiem aeternam, dona..' and it's kind of like this, like monk chant kind of thing. And that's the intro. So that's the text from the intro. That's what you open the prayer with. And then Faur does this, like two minutes of this kind of like fugue-y thing at the beginning where the little voices are a layering. And then he goes to this like, again, swimming in sound, kind of swirling mess that disintegrates into nothing. And you're like,'What the hell was that?', and then out of nowhere, you're like, 20 minutes into the piece now, and you get this big organ hit again. [sing] 'BAHHM!' And then the choir comes back in real quiet, and you're like, we've gone back to the beginning? What's happened? This is wild, and it just blends so nicely, but that callback, and that silence and that drama. This is what I was talking about with like the Catholic Church, like the Requiem is dramatic. There's like fire and brimstone and God and angels and like store, it's wild. So this is this is epic music. This middle section, you'll hear it when it starts to kind of like all swirl together and then goes to one note is really the moment the piece de resistance if you will
Sarah Spoon:Jon, I can't believe it, we're at the last song already
Jon Tigert:Noooooo. But it's a good place to be though.
Sarah Spoon:Where are you on the island? Talk me through your vision.
Jon Tigert:So the DJ rules at Herrang are if you're the closing DJ, you go until you feel like it's done. That can be any number of people, it could be five people, it could be no people you could sit in a room and DJ and, but I started this habit about three years ago. Anytime I closed a room and it was the last song of the night, as I was always playing this song, it's a very meditative song. It's a very [pauses to inhale] it makes you take a deep breath and kind of let the air and the blood fill your body again after not. It's, it's fantastic. And it's very simple. It's very simple and it's again a song you can listen to on repeat and you don't know when it starts and when it ends. And also bonus shout out to this moment, when notes are constantly playing to Ed Thigpen's subtle drum roll behind it, that fills out and then just, whoomph disappears like nothing. This this is celebration music and it's it's beautiful, solemn celebration if you will.
Sarah Spoon:There we go that's your ten!
Jon Tigert:Oh god, there's so many more I wanted.
Sarah Spoon:I know,
Jon Tigert:I'm, I'm happy with the final 10
Sarah Spoon:this was so much fun.
Jon Tigert:This was really fun. I was really excited for this. This is a fun format.
Sarah Spoon:And that's our episode. Thank you so much for listening. I had a great time and if you also had a great time then I encourage you to subscribe and leave a review those kind of things are really handy to little podcasters like myself, you can hear Jon playing on Gretchen Midgley and the Sidecar Six. If you want to find Jon on social media, you can find him @JonTigert on every platform, that's JON TIGERT, you will notice that there is no midpoint advert break in this podcast. So if you'd like to continue for that to be a thing, then please go to patreon.com forward slash desert island jams. You can find us on Instagram. Guess what the username is? Yes, correct. It's Desert Island Jams. Desert Island jams is produced by me, Sarah Spoon. The music license is kindly sponsored by voicesculptor.com Sarah Azmy also known as @sazmy_design on Instagram is the magician who whipped up the graphics. Jonathan Stout produced original music for our soundtrack, please go to Bandcamp and buy all of his things immediately. If you would like a transcript for this episode. FYI, all of the episodes have transcript, then you just need to follow the link that is in the show notes. Again, thank you for listening, and Desert Island Jams wil return next month