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We have the benefit of hindsight

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1920

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1958

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2014

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Amaizing Drum solo From the movie Whiplash

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1959

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Chet is an album by jazz trumpeter Chet Baker recorded in December 1958 and January 1959 and released on the Riverside label.

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1916

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1938

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Scott Joplin Movie Dueling Pianos Competition Scene

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an American virtuoso pianist and composer who some call the first true composer of jazz music.

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1961

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One More Chance by Duke Ellington & Count Basie.wmv

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First Time ! The Count Meets The Duke [Bonus Tracks] ... from 1961 ...

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The HEAD and the SOLO

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1956

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Ella Fitzgerald ft Buddy Bregman & His Orchestra - Ev'rything I've Got (Verve Records 1956)

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"Ev'rything I've Got" is a show tune from the Rodgers and Hart musical By Jupiter (1942), in which it was introduced by Ray Bolger and Benay Venuta. Ella Jane Fitzgerald (April 25, 1917 -- June 15, 1996), also known as the "First Lady of Song" and "Lady Ella," was an American jazz and song vocalist.

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1924

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1941 - 1962

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Nina Simone - I Got It Bad (And That Ain't Good)

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music by Duke Ellington and lyrics by Paul Francis Webster - 1941.

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1970s - 1990s

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Σήφης Αποστολάκης

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Uploaded by Σήφης Αποστολάκης on 2013-12-20.

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2016

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Nolatet featuring Brian Haas, Mike Dillon, James Singleton & Johnny Vidacovich - "Dogs" Debut album coming February 26, 2016 on LP, CD & Digital from Royal Potato Family

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1959

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Charles Mingus - Better Git It In Your Soul

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The first track from Charles Mingus' "Mingus Ah Um", 1959

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1970

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Chet Baker & Miles Davis With The Lighthouse All Stars

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Miles Davis - Bitches Brew (1970) - full album

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Bitches Brew is a studio double album by jazz musician Miles Davis, released on March 30, 1970 on Columbia Records. Track list: 1. "Pharaoh's Dance" - 0:00 2. "Bitches Brew" - 20:05 3. "Spanish Key" - 47:04 4. "John McLaughlin" - 01:04:38 5. "Miles Runs the Voodoo Down" - 01:09:06 6.

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2009

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Mulatu Astatke - New York-Addis-London [Full Album]

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1962

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the girl from ipanema (original version from 1962)

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1958

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2001

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Orlando Cachaito Lopez - Cachaíto (2001) [Full Album]

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Orlando Cachaito Lopez - Cachaíto (2001) 00:00 - 01. Siempre Con Swing (Intro) 00:24 - 02. Redencion 05:15 - 03. Mis Dos Pequeñas 09:22 - 04. A Gozar el Tumbao 12:09 - 05. Cachaito in Laboratory 14:52 - 06. Tumbao No. 5 (Para Charlie Mingus) 22:40 - 07. Conversacion 29:21 - 08.

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A jazz scale is any musical scale used in jazz. Many "jazz scales" are common scales drawn from Western European classical music, including the diatonic, whole-tone, octatonic (or diminished), and the modes of the ascending melodic minor. All of these scales were commonly used by late nineteenth and early twentieth-century composers such as Rimsky-Korsakov, Debussy, Ravel and Stravinsky, often in ways that directly anticipate jazz practice. Some jazz scales, such as the bebop scales, add additional chromatic passing tones to the familiar diatonic scales.

One important feature of jazz is what theorists call "the principles of chord-scale compatibility": the idea that a sequence of chords will generate a sequence of compatible scales. In classical major-mode harmony, chords typically belong to the same scale. For example, a ii-V-I progression in C major will typically use only the notes of the C diatonic collection. In jazz, a four-chord progression may use four different scales, often as the result of chordal alterations.

For instance, in C major, a jazz musician may alter the V chord, G ⁷ (G-B-D-F), with a flattened fifth, producing the chord G (G-B-D-F). An improviser might then choose a scale containing these four notes, such as the G whole tone scale, the G octatonic scale, or a mode of either D or A melodic minor ascending. In each case, the scale contains the chord tones G-B-D-F and is said to be compatible with it. This notion of "chord scale compatibility" marks a fundamental difference between jazz harmony and traditional classical practice.

An avoid note is a note in a jazz scale that is considered, in jazz theory and practice, too dissonant to be played against the underlying chord, and so is either avoided or chromatically altered. For example, in major-key harmony the 4th, and thus the 11th, is an avoid note and is therefore either treated as a passing tone or is augmented (raised a semitone). Avoid notes are often a minor second (or a minor ninth) above a chord tone or a perfect fourth above the root of the chord.

[One] can get a good sense of the difference between classical and non-classical harmony from looking at how they deal with dissonances. Classical treats all notes that don't belong to the chord (i.e., the triad) as potential dissonances to be resolved. ... Non-classical harmony just tells you which note in the scale to avoid ["what is sometimes called an avoid-note"] (because it's really dissonant), meaning that all the others are okay.

The number of scales available to improvising musicians continues to expand. As modern techniques and musical constructions appear, jazz players find the ones they can put into compositions or use as material for melodic exploration. Prominent examples are the seven modes of the diatonic major scale and added-note scales.

Compare each of the modes to the major scale for clues as to the subtle differences between them. Ionian is based on the 1st degree of the major scale, Dorian on the 2nd, Phrygian on the 3rd, etc.

Bebop scales add a single chromatic passing tone to the seven-note major scale (Ionian and Mixolydian modes). The added passing tone creates an eight-note scale that fits rhythmically evenly within a measure of 8 eighth notes, thus making it useful in practicing. When an eighth note bebop scale run starts on the beat from a chord tone (i.e. the root, third, fifth or seventh) the other chord notes will also fall on the beat. As a result, all of the nonchord tones will fall on upbeats.

There are two commonly used types of bebop scales:

1. The dominant bebop scale, which adds a chromatic passing tone between the 7th and the root.

2. The major bebop scale, which adds a chromatic passing tone between the 5th and 6th notes.

A great deal of modern jazz harmony arises from the modes of the ascending form of the melodic minor scale, also known as the jazz melodic minor scale. This scale is essentially a diatonic major scale with a lowered third, for example C-D-E-F-G-A-B-C. As with any other scale, the modes are derived from playing the scale from different root notes, causing a series of jazz scales to emerge.

The names of these scales are variations of the names used for some of the modes of the diatonic major scale, for example the Phrygian 6, the second mode of the melodic minor, is named so because it is the same as the Phrygian mode of the major scale with a major sixth.

Sometimes called the octatonic scale because it contains eight tones, the diminished scale is composed of a series of alternating half and whole steps. There are two types of diminished scales, one starts with a half step and the other starts with a whole step. The two scales are modes of one another.

Because of the repetition of the interval pattern after only two notes, each note in the scale can be the root in another symmetric diminished scale. For example, the C diminished scale of the half-step-first type, has the same notes as the half-step-first E diminished scale as well as the whole-step-first D diminished scale. All three are composed of the same eight pitches: C-D-E-E-F-G-A-B-C.

Because of the symmetry of the diminished scale, there are only three distinct diminished scales (shown to the right). The others are all modes of these three.

The whole tone scale, consisting exclusively of whole steps, is often used on V7 +6 chords.

Two pentatonic scales common to jazz are the major pentatonic scale and the minor pentatonic scale. They are both modes of one another.

The major pentatonic scale begins with a major scale and omits the fourth and the seventh scale degrees. The minor pentatonic scale uses the same notes as the major pentatonic scale, but begins on the sixth scale degree of the corresponding major scale. In this nomenclature, minor is employed in the sense of relative key, as the diatonic A minor scale is the relative minor of the diatonic C major scale.

Jazz improvisers, particularly bassist and guitarist, use these scales in a number of interesting ways. For example, over Bmaj, one can use a major pentatonic based on the 2nd scale degree of B (C-D-E-G-A) to imply 9-3-11-13-7, respectively. Similarly, over a fully altered F ⁷ chord, one can use the same major pentatonic, this time based on the tritone (C-D-E-G-A) to imply 5-13-7-9-9, respectively.

The term blues scale refers to several different scales with differing numbers of pitches and related characteristics. The six-note blues scale consists of the minor pentatonic scale plus a chromatic passing tone between the 4 and 5. This added note can be spelled as either 5 or 4. Guitarists often mix the major and minor pentatonics together along with the blues scale.

Another common blues scale has nine notes (shown to the right). Winthrop Sargeant defines this scale as "a definite series of tones within an octave used as the basis of a musical composition," compiled instead from multiple compositions and improvisations (according to Stearns: "a great many jazz records") and is hypothesized as displaying the influence of African music. The E and B are blue notes.

The harmonic minor scale is also of value to many improvisors, as it provides an alternative color for many common chords and chord progressions. The A harmonic minor scale can be used on the chords of a piece in A minor, especially on the minor ii-V-i chord progression.

One of the most common uses of the harmonic minor scale is its fifth mode, which is a frequently heard sound over dominant chords.

The altered dominant scale, also loosely called the altered scale, is so named because all the scale members that can be altered relative to the basic dominant scale (the Mixolydian mode), without losing the dominant quality, are altered. The scale includes both altered fifths (5 and 5) and both altered ninths (9 and 9).

The altered fifths coincide enharmonically with the 11 and the 13 which would also be considered altered relative to their Mixolydian forms. The tonic, major third (as a diminished fourth), and dominant seventh are retained as essential to the dominant quality.

The scale can also be understood as a mode of the ascending melodic minor scale starting from the 7th scale degree. For a C ⁷ chord, the C melodic minor scale starting from B (C enharmonically) produces the C altered dominant scale enharmonically.

This scale is also called the superlocrian scale, as it is indeed reminiscent of a Locrian scale with a 4, but it is usually regarded as that of major quality. Another name for this scale is the diminished-whole tone scale because the first tetrachord is that of a (half, whole) diminished scale and the second tetrachord is whole-tone.

Yamaguchi, Masaya. 2006. The Complete Thesaurus of Musical Scales, revised edition. New York: Masaya Music Services. ISBN 0-9676353-0-6.

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A jazz scale is any musical scale used in jazz. Many "jazz scales" are common scales drawn from Western European classical music, including the diatonic, whole-tone, octatonic (or diminished), and the modes of the ascending melodic minor.

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2003

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Madlib - Shades Of Blue (Full Album 2003)

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TRACKLIST: 01. 00:00 - Introduction 02. 00:32 - Slim's Return 03. 04:28 - Distand Land (Hip Hop Drum Mix) 04. 08:26 - Mystic Bounce 05. 12:22 - Stormy 06. 16:03 - Blue Note Interlude 07. 16:45 - Please Set Me At Ease (featuring M.E.D) 08. 21:47 - Funky Blue Note 09.

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2007

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Jamaaladeen Tacuma & Grant Calvin Weston

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Peter Brötzmann / Mats Gustafsson / Paal Nilssen-Love: The Fat Is Gone

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The Fat Is Gone (Smalltown Superjazzz , 2007) Mats Gustafsson: Baritone Saxophone, Reeds (Flutophone) Paal Nilssen-Love: Drums, Percussion Peter Brötzmann: Tenor Saxophone, Alto Saxophone, Bass Clarinet

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2011 (1.20)

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Steve Noble @ Boat-ting, London, 20.6.11

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Steve Noble - solo percussion @ Boat-ting, London, 20.6.11

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2008

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This is the british post-jazz band of Seb Rochford, not the american rock band of Eric Avery! This track comes from their third album (2008).

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1968

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from disc 6 of "Holy Ghost" box set New York area, circa late August, 1968 untitled blues Albert Ayler (alto sax) Call Cobbs (piano) Bill Folwell (electric bass) Bernard Purdie (drums)

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1968

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Colour Photo of Ornette & Deonardo Coleman

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This appears to be Coleman's only recorded use of the suona, a kind of wooden oboe with a distinctive loud and high-pitched sound. An important folk instrument in northern China, it is occasionally still used to accompany weddings and funerals, as part of wind-and-percussion ensembles known as chuida or guchui.

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1961

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2015

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Published on Jun 18, 2015 Recorded Live @ Lauderdale House on 21st May 2015 www.timthorntonbass.com Featuring James Gardiner-Bateman (sax), Ross Stanley (piano), Tim Thornton (bass) and Chris Draper (drums). Composed by Tim Thornton

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Went to school with 'im!

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"PLAN B" Gareth Lockrane Big Band feat. Tom Cawley & James Gardiner-Bateman

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Gareth's tune Plan B performed by his big band at Chelsea's 606 club and given a multi-camera treatment! Featuring inspired solos by Tom Cawley (piano) and James Gardiner-Bateman (soprano sax).

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1966

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A Power Stronger Than Itself has 152 ratings and 24 reviews. Dont said: A quick glance at my reading list of late and you can pretty much figure out my c...

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1994

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Best Acid Jazz Soulful Deep House Lounge Music Remix Playlist

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Jamiroquai's official music video for 'Stillness In Time'. Click to listen to Jamiroquai on Spotify: http://smarturl.it/JamiroquaiSpot?IQid=JamiSIT As featured on The Return of the Space Cowboy (Remastered).

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10. each chord symbol (e.g., F-, Eb7, etc.)

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1974 (23 m)

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the mothers of invention (musical group)

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Frank Zappa/The Mothers - Roxy & Elsewhere

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Great tunes from the one and only Frank Zappa accompanied by what is, in my opinion, his best lineup. 1. "Penguin in Bondage" 0:00 2. "Pygmy Twylyte" 6:48 3. "Dummy Up" (Brock, Simmons, and Zappa) 9:01 Side two 4. "Village of the Sun" 15:05 5. "Echidna's Arf (Of You)" 19:22 6.

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1997

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Jim Campilongo Fender Princeton Reverb Amplifier

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Jim Campilongo & The 10 Gallon Cats (Pluto, '97)

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Jim Campilongo & The 10 Gallon Cats (guitar/Jim Campilongo, pedal steel/Joe Goldmark, bass/Chris Kee, drums/Ken Owen) playing Campilongo's "Pluto" in a sound studio. No pool balls clacking or glasses tinkling but HAPPENIN' just the same!

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2016

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Julian Lage - "Persian Rug" (Live from the Blue Whale)

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Julian Lage, Kenny Wollesen and Scott Colley perform "Persian Rug" at the Blue Whale on 6/4/16. Directed & Edited by Alex Chaloff | www.bucketsmovingcompany.com Julian Lage's ARCLIGHT is available today. iTunes: https://itunes.apple.com/us/album/arclight/id1073985673 Spotify: https://open.spotify.com/album/6sKJEBTRRuQhI696nyr1mD

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2009

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Fafa by Vieux Farka Touré from Vieux Farka Touré's album Fondo (Six Degrees Records) For more information visit: http://sixdegreesrecords.com/artists.php?artist=Vieux_Farka_Tour%E9 Also check out Vieux Farka Touré's Official Site: http://vieuxfarkatoure.com and Six Degrees Records: http://sixdegreesrecords.com

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The following fantastic list of advice comes courtesy of legendary jazz pianist Thelonious Monk, a musical genius who died exactly 30 years ago, on February 17th of 1982. The list was transcribed by saxophonist Steve Lacy in 1960.

Enjoy.

Transcript follows.

( Source: Heck of a Guy; Image above: Thelonious Monk, via.)

T.MONK'S ADVICE (1960)

JUST BECAUSE YOU'RE NOT ADRUMMER, DOESN'T MEAN YOU DON'T HAVE TO KEEP TIME.

PAT YOUR FOOT & SING THE MELODY IN YOUR HEAD, WHEN YOU PLAY.

STOP PLAYING ALL THOSE WEIRD NOTES (THATBULLSHIT), PLAY THE MELODY!

MAKE THE DRUMMER SOUNDGOOD.

DISCRIMINATION IS IMPORTANT.

YOU'VE GOT TO DIG IT TODIG IT, YOU DIG?

ALL REET!

ALWAYS KNOW... (MONK)

IT MUST BE ALWAYSNIGHT, OTHERWISE THEY WOULDN'T NEED THE LIGHTS.

LET'SLIFT THE BAND STAND!!

I WANT TO AVOID THEHECKLERS.

DON'T PLAY THEPIANO PART, I'M PLAYING THAT. DON'T LISTEN TO ME. I'M SUPPOSED TO BE ACCOMPANYING YOU!

THEINSIDE OF THE TUNE (THE BRIDGE) IS THE PART THAT MAKES THE OUTSIDE SOUND GOOD.

DON'T PLAYEVERYTHING (OR EVERY TIME); LET SOME THINGS GO BY. SOME MUSIC JUST IMAGINED. WHAT YOU DON'T PLAY CAN BE MORE IMPORTANT THAT WHAT YOU DO.

ALWAYS LEAVE THEM WANTING MORE.

A NOTE CAN BE SMALL AS A PIN OR AS BIG AS THE WORLD, IT DEPENDS ON YOURIMAGINATION.

STAY INSHAPE! SOMETIMES A MUSICIAN WAITS FOR A GIG, & WHEN IT COMES, HE'S OUT OF SHAPE & CAN'T MAKE IT.

WHEN YOU'RESWINGING, SWING SOME MORE!

(WHAT SHOULD WE WEAR TONIGHT?SHARP AS POSSIBLE!)

DON'T SOUNDANYBODY FOR A GIG, JUST BE ON THE SCENE. THESE PIECES WERE WRITTEN SO AS TO HAVE SOMETHING TO PLAY, & TO GET CATS INTERESTED ENOUGH TO COME TO REHEARSAL.

YOU'VE GOT IT! IF YOU DON'T WANT TO PLAY, TELL A JOKE OR DANCE, BUT IN ANY CASE,YOU GOT IT! (TO A DRUMMER WHO DIDN'T WANT TO SOLO).

WHATEVER YOU THINKCAN'T BE DONE, SOMEBODY WILL COME ALONG & DO IT. A GENIUS IS THE ONE MOST LIKE HIMSELF.

THEY TRIED TO GET ME TO HATE WHITE PEOPLE, BUT SOMEONE WOULD ALWAYS COME ALONG & SPOIL IT.

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The following fantastic list of advice comes courtesy of legendary jazz pianist Thelonious Monk, a musical genius who died exactly 30 years ago, on February 17th of 1982. The list was transcribed by saxophonist Steve Lacy in 1960. Enjoy. Transcript follows. ( Source: Heck of a Guy; Image above: Thelonious Monk, via.)

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1970

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Black Sugar - Pussycat AFRO/JAZZ FUSION1970

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This is the last song for the marvelous peruvian group Black Sugar. This is the last song I post from this group. BUT THIS IS A SMASH. Very very good. A little bit jazzy at first. Very goooooood.

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2015

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Ibrahim Maalouf - Kalthoum (alf leila wa leila)

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Kalthoum - Alf leila wa leila (tout l'album)

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This is an A-Z list of jazz standards . It is intended to be as comprehensive a list as possible, including those pop standards and film song classics which have been sung or performed in jazz on numerous occasions and are considered part of the jazz repertoire.

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8. While most jazz utilizes a steady pulse (beat), certain styles of jazz are played "freely" with no steady beat

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In this lesson you will learn 10 essential jazz guitar chord rhythms that every jazz guitarist should know (lesson includes audio and tab/notation).

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1999 (jazz bit at 1.30)

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43% Burnt The Dillinger Escape Plan Calculating Infinity smell that whore. bring me back. bring me a brick. Take my bottle and break it. pour it all out. i pushed You too far. self absorb that pity. i want to knock you Off your horse. i just feel it, everything is fine.

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Justinguitar - Free Guitar lessons with Justin Sandercoe

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THE BEST GUITAR TUTORIALS FREE!! Basic Jazz Chords With Justinguitar.com

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Justinguitar offers COMPLETELY FREE guitar lessons!!! from Justin Sandercoe including beginners, electric, acoustic, blues, rock, jazz, folk, technique, aural training and a whole lot more. All free. No bull!

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1937

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1959

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1960's

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Harry James and Buddy Rich - Cherokee 1964