Taylor Eigsti rips through some changes on his arrangement of the standard tune, “I Love You” for his album Let It Come to You. The line begins with a chromatic enclosure around a Bb and ascends through some melodic minor modes. Where some people would place a conventional 3625 progression, he sidesteps downwards with a sequence of pentatonic shapes that … Read More
Check out this explosive chorus from Bill Evans on his minor blues tune, “Israel.” He busts out of the gate with a decisive gesture and follows up with some of his signature minor vocabulary. Watch out for his use of chromaticism and the tricky diminished lines sprinkled throughout.
Herbie Hancock executes slippery chromatic lines over the tune “There is No Greater Love.” His accented offbeats lie deep in the pocket of Tony Williams and Ron Carter. If you’re feeling adventurous, check out the slaying triplet passage in the second half of this solo.
This chorus of blues from the album “We Get Requests” finishes out with a triplety riff which would swing the doors off of any club! Oscar’s rhythm section grooves hard behind him here.
This excerpt is from a chorus of blues by Oscar Peterson on his album We Get Requests, where the trio covers popular standards. Be on the lookout for some swinging hours playing. With Oscar, it’s hard to miss!!
This is a solo by a young Keith Jarrett during his professional debut on tour with Charles Lloyd in 1966. His fiery opening line became infamous because of his technical fluidity and his use of harmonic color.
Bud Powell was an extremely influential artist to jazz and jazz pianists to come. Here is a great lick from one of his very famous tunes called “Celia”.
This small dominant line is used a great amount. The out lines the C7 chord tones up to the b9. Once you get to the b9 you can resolve down to any chord tone of your maj7th chord. The b9 is the important note as it creates a small amount of tension which is followed up by a release. Check … Read More
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This is a great dominant 7th movement. We start on the 13th, and move to the #11 to approach the fifth which is a chord tone. From here we move up our mixolydian scale until we reach the 4th and resolve down to the 3rd of the chord. Really great movement to add into your repertoire. Enjoy! Check out jazz … Read More