Adolph Sandole - Craft of Jazz I

[jhatpro]

What's your opinion of his book? Any tips on how to get the most out of it?
_________________
Jim Hatfield

"The notes are there - find them.” Mingus

2021 Martinus Geelan Custom
2005 Bach 180-72R
1965 Getzen Eterna Severinsen
1946 Conn Victor
1998 Scodwell flugel
1986 Bach 181 cornet
1954 Conn 80A cornet
2002 Getzen bugle

[kehaulani]

Jim, I've got it and I think it's excellent.

I think it's a little dated (I don't know the copyright). It doesn't get into the meat of contemporary jazz theory like Mark Levine's Jazz Theory or improvisational sophistication like Shelly Berg's Goal Note Method, but what I do like is its integration of all the skills you need to be a good improvisor, theory, singing, and piano as well as your horn-specific improvisational needs.

And it feeds you the information incrementally, so it's easy to follow. If you get all the information under your belt, you would have a good foundation for more sophisticated work.

It's price is a little hefty but maybe you can find a digital version cheaper at qPress.
_________________
"If you don't live it, it won't come out of your horn." Bird

Yamaha 8310Z Bobby Shew trumpet
Benge 3X Trumpet
Benge 3X Cornet
Adams F-1 Flghn

[jhatpro]

Thanks. Just bought it from qPress.ca and am reading through it. At 368 pages it's going to take a while. So far I'm impressed by his direct style and sensible recommendations ("improvise on the key, not the chord" and "keep the time going, don't stop to correct errors").

However, I'm not certain I have the discipline to follow his instruction that all exercises must be memorized and played in all keys. Whew, I'm gassed just reading that!
_________________
Jim Hatfield

"The notes are there - find them.” Mingus

2021 Martinus Geelan Custom
2005 Bach 180-72R
1965 Getzen Eterna Severinsen
1946 Conn Victor
1998 Scodwell flugel
1986 Bach 181 cornet
1954 Conn 80A cornet
2002 Getzen bugle

[kehaulani]

Jim, a tip and maybe something you already know, but . . .

One way of getting through changes is not to fill your heed with what the harmonic function of a chord is, or what scale to play, what key you're in, but simply what note changes from chord to chord.

So, if the changes are II7-V7-IMaj, instead of ii7-V7-IMaj, (D7-G7-CMaj7 instead of dmin7-G7-CMaj7) don't paralyse by alalyse, just play a CMaj scale with an F# on the II7 chord instead of F natural.

That example can get much more complex; Anybody fan play a Lydian scale. It's the principle that's important because the application can get a lot more complex.

If you already use this then, perhaps, it can help another reader,
_________________
"If you don't live it, it won't come out of your horn." Bird

Yamaha 8310Z Bobby Shew trumpet
Benge 3X Trumpet
Benge 3X Cornet
Adams F-1 Flghn