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Jazz Improvisation, Jamey Aebersold


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I would!! Please keep posting...
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Yamahaguy
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PostPosted: Fri Feb 25, 2005 8:11 am    Post subject: Reply with quote

This might be jumping the gun a bit, but I can play the scales/chords just fine. But when I try to connect a solo across the changes, I spaz out. Patterns sound artificial, it's not 'me'. I listen, I've transcribed, what am I missing?
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JAZZ-PLAYER-COLLECTOR
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PostPosted: Fri Feb 25, 2005 4:04 pm    Post subject: Reply with quote

Hi Yamahaguy, and everyone else too!

Many people have learned the scales and some licks, and have the basic
mechanics of improv, yet still play in a way that is indeed 'artificial'. They
run up and down the scales, noodle around and plug in prearranged licks
and patterns, but still they aren't producing any real creative art yet.

Here's the crux of the problem: They've been filling up all the space with
notes, but not creating musical ideas. But how do we make the transition
from playing notes to playing real music? Here are some ideas that ought
to help you (and many others out there too).

The most important thing we must do is to play very short ideas and then
pause. The ideas can be just three or four notes each, and definitely need
to be very short for now. Then during the pauses between the short ideas
you should think about another short phrase that would logically follow the
one you just played... You need to mentally "pre-hear" every single thing
you play. Nothing you play should be random at this level. When you were
a beginner, it was useful to play some random material just to hear what
the notes sounded like (and it helped to train the ear) but now each note
should be part of a real musical idea or "phrase".

At the point you are at it may feel frustrating to slow down this much, but
it's what you need to do! You may try actually singing the short ideas aloud
before playing them. You have to really force yourself to do this!! Abandon
the playing of all licks for a while. At first you may only "pre-hear" 3-4 note
ideas, then later you'll be able to hear 5-6 notes, then more. Eventually you
will be putting together longer and longer ideas, and they will be much more
musical and creative as well. Do force yourself to do this for at least a few
weeks. It'll soon become a habit, and you'll wonder how you ever used to
play the old way. It wasn't music, it was just "notes".

Later you'll be playing more flowing eighth note lines again, but right now
you need to slow way down and do this "pre-hearing" I have been talking
about. Eventually you'll be able to pre-hear a whole measure or two, but
it all starts with just a few notes. I am often saddened when I hear people
simple "plugging in" prearranged licks and lines that aren't really a part of
any bigger musical idea. Be glad that you realize that this isn't really jazz,
and that you are now getting down to the "real deal". It's possible to make
some really good music with very few notes. It's not how many notes you
play that matters, it's the quality of the notes you select to play. This is the
difference between playing real art, and merely running through a bunch
of licks and patterns.

Don't get me wrong though... You'll gradually be able to play much longer
ideas, faster and faster as well... but they'll be very musical too. Try using
more repetition! Vary your rhythms and play ideas that are slight variations
of the ones that preceded. I do hope this helps... That was a great question
too, that should help many out there, even those who consider themselves
to be fairly advanced players... Thanks!

Your Friend, Tom in Texas
JAZZ-PLAYER-COLLECTOR


Last edited by JAZZ-PLAYER-COLLECTOR on Tue Jul 10, 2007 10:56 am; edited 1 time in total
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tptscream
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PostPosted: Fri Feb 25, 2005 5:06 pm    Post subject: Reply with quote

Well done, Tom. I have found JA's II-V-I book and Nothin' ButBlues to be very helpful. I'll follow this thread with great interest!
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JAZZ-PLAYER-COLLECTOR
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PostPosted: Fri Feb 25, 2005 7:06 pm    Post subject: Reply with quote

Hi Scream,

Yes Sir! The "II-V-I's" volume and "Nuthin' But Blues" are the next two
volumes in the Jamey Aebersold series. I'll be coverring those two sets
next, so I hope people stick with me here. I sure do appreciate all the
people who have chimed in with encouragements... Thanks so much!

Anyone with any kind of questions at all, please feel free to post them
right here. This will help everyone at the same time! Thanks, I am...

Your Friend, Tom in Texas
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Krafty934
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PostPosted: Fri Feb 25, 2005 8:13 pm    Post subject: Reply with quote

Hi Tom, I want to really thank you for starting this thread!! For the past few months, I've been trying to learn how to improv, but I never got much better and never really understood the concept. Your lessons are going to help me a lot (actually I haven't played yet, only read the first and second lessons, although I do know my 12 major scales ). I hope to see more lessons from you soon. Once again, thank you!!!
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marktrumpet
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PostPosted: Sat Feb 26, 2005 6:15 am    Post subject: Reply with quote

Hey Yamahaguy, I know what you are talking about. Two things have helped me turn off the over analytical part of my brain when performing and allowed me to sound more natural.

The first, was using the phrasing exercises in Hal Crook's book How To Improvise. Basically you just decide how long you are going to make a certain phrase and how long you will rest. For example, play one measure, than rest one measure, do this for a chorus or two. The next time play two measures, rest two measures, etc. for two choruses. This is just for practice, obviously.

By practicing this way, allowing longer time to rest in between phrases you give your mind a chance to recall what you just played and you almost automatically will make the next phrase more like the one you just played. Use more combinations of the play/rest approach. For example play 4/rest 2, play 3/rest 1. Odd number combinations are more difficult and will force you out of your comfort zone and make you play something different.

Another thing I did which helped to shut off the over analytical side of my brain was to play along with the recording. Chet Baker is a great place to start.

Use headphones but just use the right side, leave the left ear uncovered. Play along with the soloist like they are the lead player in a band and you want to match with them but not cover them up. Don't worry about the technical stuff just let your mind focus on what is coming out of the headphones. They are the lead player, just match the best you can. Do this about ten times in a row then go back to playing a solo of your own and see if you are not more aware of your own sound and if things are not more relaxed and musical.

When you go to play your own solo, try to keep that same feeling you had as you were playing with the soloist, it feels like a heightened sense of awareness.

These two things have helped me a lot, maybe they will work for you too. I am not really sure. Good Luck!
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Yamahaguy
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PostPosted: Sat Feb 26, 2005 11:14 am    Post subject: Reply with quote

Tom and Mark,
Thanks so much for your comments, those are some great ideas. I will update you on my progress as I follow along looking for more good advice!
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JAZZ-PLAYER-COLLECTOR
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PostPosted: Sat Feb 26, 2005 2:31 pm    Post subject: Reply with quote

Great suggestions, Mark!

That's a very good idea, to try structuring the playing and pausing this
way. Play for 2 bars, pause and think for 2 bars... Or 3 & 1, 4 & 4, etc.
It not only forces the pausing, reflecting, and pre-hearing... but it'll also
drive home the natural phrasing. I especially stress the idea of playing
slight variations of the previous ideas with my students. This is done in
all styles of music, and it happens very naturally. All great suggestions!

Anyone with helpful ideas, please feel free to chime in!! This is the time
for questions and answers, since I'll hold off posting more "lessons" for
a while. Soooooo, ASK THOSE QUESTIONS! I know you got 'em...

Your Friend, Tom in Texas
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JazzBird
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PostPosted: Sun Feb 27, 2005 6:51 am    Post subject: Reply with quote

Hey Tom.....excellent idea and a great thread !!

Keep it comin' !

JazzBird
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JAZZ-PLAYER-COLLECTOR
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PostPosted: Sun Feb 27, 2005 10:51 am    Post subject: Reply with quote

Thanks JazzBird!

Mark, Yamahaguy and everyone else. Another idea I find very helpful
with the playing and pausing concept is this: Sometimes trying to play
along with the tracks adds a complexity that makes things too difficult
in the early stages. It's often a good idea to just turn off the CD player
and play the material for those early tracks with no background music
at all. Just forget all about trying to keep up with the proper measures,
and play without worrying about nailing each chord change at the right
time altogether. Just concentrate on playing those short melodic ideas.

Trying to keep up with the rhythm section can cause a low-level panic.
It can interfere with the process of reflecting on what you just played,
and pre-hearing the next idea. Sometimes it's best to play without the
CD for awhile. Later, when you're more used to the process, turn that
player back on. Any time you run into a hurdle, just back up a bit and
review. Slow everything down and break up the task into smaller bites
that you can fully digest, then return to the hurdle and break through!

KEEP THOSE QUESTIONS COMING!! These discussions help everyone!

Your Friend, Tom in Texas
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StewMuse
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PostPosted: Sun Feb 27, 2005 9:07 pm    Post subject: Reply with quote

Thanks Tom -
I'm going to share these lessons with my neophyte jazzers!

keep on posting!
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JAZZ-PLAYER-COLLECTOR
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PostPosted: Mon Feb 28, 2005 8:54 am    Post subject: Reply with quote

.................................*** LESSON NUMBER 11 ***.............................

THE BLUES SCALE, more correctly refered to as the "minor blues scale",
will be the subject of this lesson.

Some might think I'm jumping the gun a bit by presenting this scale now,
but I feel it is so useful to the beginning improvisor that you need to start
getting the sound of it into your mind right away. So let's dive right in!

G Bb C C# D F G .............. F Ab Bb B C Eb F .............. E G A A# B D E

These are your first three "blues scales". You'll notice that I chose three in
the same keys as used in Tracks 2 and 3 of the play-along CD. We will be
using these three scales along with those tracks very soon, since they also
sound "good" or "right" when played along with minor chords.

Please read and study page 40 in the JA vol. 1 book now. You will learn to
play just one of the blues scales for now. This is all you'll need for at least
a week or two. I won't ask you to learn all 12 of them for a very long time,
so don't panic.

I only want you to begin experimenting with one of these for a week or
two. So let's start now by playing the one starting on E. (It's real, proper
name is "the E minor blues scale", but many people simply refer to it as
"the E blues scale". I feel either term is perfectly acceptable.)

First begin by playing it up and down very slowly... E G A A# B D E. You
should also try singing the scale as well. Listen carefully to the sound of
each note. You will probably recognize the sound of this scale, since you
have actually already heard it thousands of times in your life! Oh yes it's
true... literally thousands of times!

Continue playing and singing just that one E blues scale for a while. Let it
sink in to your mind... Even if you have a terible singing voice... it doesn't
matter! Just keep playing and singing until you have the scale memorized
and know how it sounds. This may take just a few minutes, or it may take
a few days before you really feel that you have it down. No Problem!

The next step is to begin improvizing with just that one scale. Work on it
exactly the same as you did with the earlier minor scales we used before.
Begin by playing the scale up, then play it down. Play up and down those
first five notes, and then start adding a little rhythm to it. Little by little, it
will get better. It sometimes takes a while, but it WILL sink in. Be patient,
keep it simple, and soon you will be using it with the recorded tracks!

You must get the sound firmly in your mind and the notes fully memorized
before trying to use it with Track 2... Just play your 'minor scales' as usual
on the G- and F- chords, then when the E- chord arrives try playing that E
blues scale for eight measures. You'll notice it has a more 'funky or bluesy'
sound than the other scales. We need a variety of sounds, to add interest
to our solos when we improvize!

In a week or two go ahaed and learn all three blues scales (G, F and E)
so that you can begin using them interchangeably with the minor scales
with both Tracks 2 and 3. These blues scales have a very earthy, funky
sound to them! Enjoy the variety, but don't overuse them. Go back and
forth a bit from the blues scales to the minor scales... Try to accentuate
the different sounds. The minor scale is "smoother" sounding, while the
blues scale gets a very "down-home" or "earthy" kind of sound.

Do study page 40 again and again as many times as needed, just as you
would with any other new lesson. Also, keep on reviewing earlier lessons,
and you will find that each day all this material will become more and more
clear to you. Just be patient, go slow, and enjoy the learning process itself.
If you can do this, you'll stick with the project, and wind up reaching goals
you never dreamed of! 10-15 minutes a day is fine, 20-30 minutes is great!

Just keep biting off little pieces, and slowly digesting them one at a time,
and you WILL succeed! It simply cannot fail! Until next time, I am...

Your Friend, Tom in Texas
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JAZZ-PLAYER-COLLECTOR
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PostPosted: Tue Mar 01, 2005 9:10 am    Post subject: Reply with quote

.................................*** LESSON NUMBER 12 ***..............................

More about DAILY PRACTICE, LISTENNING, and SUGGESTED VIDEOS...

Although this thread has covered enough material to easily last a beginner
a month or two, some of the emails I'm getting make it clear that many of
you are trying to keep up with each post as it is published. Let me tell you
that this would be a mistake for any beginner. Each post is really meant to
last you about a week or so. If you have alot of natural talent or you have
dabbled with improv before, 2-3 posts per week should be about the limit.

In time... you will set up a large foundation upon which to build something
amazing! If you try to progress too quickly you will become frustrated and
find that you're not fully prepared for future lessons. GO SLOW AT FIRST!!
Later you will begin to progress much more quickly, but for now just learn
the basics as well as you possibly can. Sermon over...

!!!!!!!***HERE IS HOW YOUR DAILY IMPROVE STUDY SHOULD GO***!!!!!!!

(1) Begin by reviewing the posted lessons and any corresponding material
in the book up to the level you are currently at. (5-10 minutes per day)

(2) Work on the major scales, until you know all 12 extremely well. This'll
take you a month or so. No problem at all. (also 5-10 minutes per day)

(3) Practice playing along with the CD tracks at your current level. Tracks
2 and 3 require only three minor (or blues) scales... while tracks 4 and 5
require seven. Be sure to pace yourself, and use good technique as well.

(4) Listen to some good jazz soloists. Put some jazz tapes or CDs in your
car stereo. Chet Baker is a good choice for beginners to listen to. Baker's
playing was quite straightforward, while also being profoundly beautiful at
the same time. Earlier recordings of Miles are good, especially material he
produced during the 50's and early 60's.


If you want to buy a few DVDs that will motivate you from now until the
end of time, I can save you alot of research and expense. I have a huge
collection of videos, and here are some of the very best of the best!

(1) "Live at Ronnie Scott's", and also "Candy" with Chet Baker,

(2) "Blues and Swing" with Wynton Marsalis, simply amazing...

(3) "Live at the Village Vanguard" with Freddy Hubbard, wow!

(4) "Jazz Legends" with Arturo Sandoval, you won't believe it...

(5) "Jammin' the Blues" also called "Great Jazz Performances"
which features amazing vintage footage of Lester Young, and
also has Miles, and every film of Charlie Parker ever made...

(6) "Vintage Getz" from Jazz Masters, featuring Stan Getz, and

(7) "Dizzy's Dream Band", featuring Dizzy Gillespie, Jon Faddis.


I think every single one of these videos may be available on-line at
"ejazzlines.com", an amazing source for jazz videos! You absolutely
will NOT regret buying these videos. I would get them all as soon as
possible, before the rush this post is likely to create!

Go now, spend $$$! I'll be waiting right here. Until next time, I am...

Your Friend, Tom in Texas
JAZZ-PLAYER-COLLECTOR
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trumpetgirl612
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PostPosted: Tue Mar 01, 2005 10:16 am    Post subject: Reply with quote

hmmmm i used the madien voyage book
and it really helped me out
sadly tho my teacher has never even given me the chance to even let him know i can improv.....
damned sax! b/c he has his "golden boys" our lead alto n our vibes player he doesnt even give our guitar stuff anymore
oh well
maybe in college
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JAZZ-PLAYER-COLLECTOR
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PostPosted: Tue Mar 01, 2005 1:03 pm    Post subject: Reply with quote

Hi Trumpetgirl,

I like to have students play songs from Volume 51... "Maiden Voyage".
The songs are simple and beginners can usually learn to improvize with
several of the tunes fairly quickly. Volume 5 is another great collection
for beginners too.

About that teacher of your's... Don't be shy! Let him know you're working
on this stuff. You might even try letting him overhear you improvize a bit
when you're warming up!

Your Friend, Tom in Texas
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JAZZ-PLAYER-COLLECTOR
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PostPosted: Wed Mar 02, 2005 2:46 am    Post subject: Reply with quote

Hello Everyone,

I just noticed this thread has gotten over 1500 views in less than ten days,
and there's 66 people voting for me to keep posting so far. I have wanted
to make a difference in the trumpet world in my semi-retirement years. I
do hope threads like this are indeed making a difference for people.

The next post will list highly recommended CDs for listenning. I'm working
now on trying to reduce my list of hundreds of great recordings down to the
very best. Like the DVDs I recommended above, these CDs will be chosen
to help a new collector get the very best first (with benefits to the beginning
improvizer in mind). Never stop playing jazz. These DVDs and CDs that I'm
recommending will provide much inspiration and motivation. Listenning to
jazz on a regular basis will fill your mind with jazz sounds, licks, harmony,
ear training, and so much beauty that you'll be hooked for life. Plus, with
your head so full of this music, jazz ideas and licks will soon come bubbling
up and out of you as though you were an endless wellspring of creativity!

I can't stress the importance of listenning enough. If one doesn't love this
music enough to want to listen to it, they shouldn't even try to play it! You
need to LISTEN, LISTEN, LISTEN all the time for a while! Watching the DVDs
I've recommended will put you in "Jazz Heaven" too! Jazz is something you
can love your whole life, and it will always be there for you. Whether you're
feeling "down", or you're feeling "on top of the world", it is always there to
make everything better. Jazz will always be a beautiful inspiration for you.
I love it so much, I just can't imagine a world without it...

I'll be back soon with that list of recordings! Until then, I am...

Your Friend, Tom in Texas
JAZZ-PLAYER-COLLECTOR
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dow30
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PostPosted: Wed Mar 02, 2005 8:11 am    Post subject: Reply with quote

Hi Tom,

Saw Sandoval at the Blue Note last night, was so blown away, as I am by all his performances, seen him many times. But to add about the DVD's. I have the Sandoval DVD, needless to say it is great. It has some great close up shots. I could never play pedal tones, and after watching the DVD a few times, I was playing pedal tones. One picture worth a thousand words! If any of you ever get a chance to see him live, please do.

And Tom, thanks again for the great work!
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CRJAZZMAN
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PostPosted: Wed Mar 02, 2005 1:54 pm    Post subject: Reply with quote

Thank you, THANK YOU, THANK YOU, THANK YOU !!
40+ years old and been playing lead all my trumpet life. Always wanted to get into improv. Just started last year and have been having some minor success. (pun intended!) This stuff is pure GOLD! Now I can start a more deliberate path to organized creativity! It removes the confusion by getting it stripped down and keeping it simple so we can "get it"
Thanks again!
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JAZZ-PLAYER-COLLECTOR
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PostPosted: Thu Mar 03, 2005 4:47 am    Post subject: Reply with quote

.................................*** LESSON NUMBER 13 ***...............................

I've been collecting records, CD's, VHS's and DVD's for 35 years now. My
interests include all kinds of music, especially jazz. During my college days
I'd often ask my jazz playing friends for advice on what were the very best
recordings they'd ever heard. This way, when I went to the record store I'd
be sure to spend my money wisely. Now this is my personal list for you...

These are not only examples of great music, but they are also especially
good for beginners to have in their collections, as well as any serious jazz
student or fan. I have not included any avant garde, mindless screamers,
or other types of jazz playing that would be of little benefit to the student
of beginning improv. For now, I'll simply limit the list to the absolute most
beautiful, motivational, and educationally valuable recordings possible.

I'll expand on this list in the next post to include more great recordings...
including some incredible technical and high range artists as well as more
great players of other instruments! The very best will be marked with the
(*) symbol. Of course, my personal favorites are all subjective. All these
should make it into your collection sooner or later. They're all great, and
there will be more listed in another post within just a day or two.


(1) MILES DAVIS: Birth of the Cool, Greatest Hits, *Kind of Blue,
*Miles Smiles, Miles Ahead, Sketches of Spain, *Porgy and Bess,
Sorcerer, *My Old Flame (aka..."Bird and Miles"), Water Babies,
Ballads and Blues, Best of Miles Davis and John Coltrane

(2) CHET BAKER: *Best of Chet Baker Plays, *Best Things for You,
Blues for a Reason, Chet Baker with Strings, Definitive Chet Baker,
Italian Sessions, Lonely Star, Chet's Choice, When Sonny Gets Blue,
Deep in a Dream, My Funny Valentine, Young Chet, Round Midnight

(3) WYNTON MARSALIS: *Standards Time #1, *Standards Time #2,
*Standards Time #3, Hot House Flowers, *Black Codes, Magic Hour,
Live at Blues Alley, To Diz with Love, J Mood

(4) LEE MORGAN: *Sidewinder, *Best of Lee Morgan, *The Cooker,
Tender Moments, Those Dizzy Days, Birth of Hard Bop, Cornbread,
Live at the Lighthouse, The Gigolo, Standards, Candy

(5) CLIFFORD BROWN: *Ultimate Clifford Brown, *Jazz 'Round Midnight,
*Best of Clifford Brown, Complete Blue Note Studio Masters, *Definitive
Clifford Brown, *Clifford Brown with Strings, Clifford Brown Memorial

(6) DIZZY GILLESPIE: *Have Trumpet Will Excite, *Night in Tunisia,
*Bird and Diz, Diz and Getz, Groovin' High

(7) FREDDIE HUBBARD: *First Light, *Red Clay, *Hub Tones, *Sky Dive
Ready for Freddie, Open Sesame, Blues for Miles, Ballads, Hub Caps


You can always refer back to this list when you get in the mood for buying.
In my opinion the recordings of Miles and Chet would be the most valuable.
My very favorite of all time is the recording "My Old Flame" by Miles Davis!!
It is also sold under the title "Bird and Miles" and can be found under Charlie
Parker titles as "Best of the Dial Years". I think it is the single most beautiful
recording I have ever heard. Miles and Bird, what a combination!

Your Friend, Tom in Texas
JAZZ-PLAYER-COLLECTOR
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JAZZ-PLAYER-COLLECTOR
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PostPosted: Thu Mar 03, 2005 5:06 pm    Post subject: Reply with quote

.................................*** LESSON NUMBER 14 ***................................

"THE PRES", "YARDBIRD", "TRANE", and some "SCRAMBLED EGGS"!


(1) LESTER YOUNG: *Best of Lester Young, *The Kansas City Sessions,
Complete Savoy Masters, Billie Holiday and Lester Young, Bebop Days,
Ultimate Lester Young, *Lester Leaps In, Lester Swings

(2) CHARLIE PARKER: *Best of the Dial Years (w/ Miles, same recording
as "My Old Flame" or "Bird and Miles", my personal all-time favorite!!!!!)
*Bird and Diz, *Charlie Parker with Strings, The Best of Bird (on Savoy)
The Original Recordings of Charlie Parker, Early Bird

(3) JOHN COLTRANE: *Blue Trane, *So What, Live in Paris, Giant Steps,
Meditations, Ascention, Love Supreme

(4) WAYNE SHORTER: *The Best of Wayne Shorter, *Second Genesis,
*Introducing Wayne Shorter (w/ Lee Morgan), Blue Notes Perfect Takes,
*Art Blakey and the Jazz Messengers (w/ Lee Morgan), Adam's Apple,
*Speak No Evil (w/ Freddie Hubbard)

Keep practicing and studying basics!
I'll be back again with more masters
of jazz, and a few surprises too!!

Your Friend, Tom in Texas
JAZZ-PLAYER-COLLECTOR
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