Welcome to Part 2 of How To Survive A Jam Session! If you missed the first instalment you can catch up here. If you did read part one then you’ve hopefully been to check out your local jam session and tried to address some of the issues I mentioned last month. It would be really great if we could all contribute to the list of tunes being called on jam sessions! Especially to see if different cities/countries are using a similar list of tunes or not. If you can throw a tune into the list please comment below and hopefully by the end of this series we will have a fairly comprehensive list of tunes!
If you read my post last week on how to survive a jam night, you’ll know that there was a lot of tunes getting called which I didn’t know. On Green Dolphin Street was one of them so this was my next choice for a walking bass line to transcribe. I searched through as many different versions of the song I could find and this version by the Oscar Peterson Trio is the most swinging version by far! Check out the song below and then read on to see what the mighty Ray Brown was getting up to.
At the end of last year I ran a poll for all my subscribers to see what content you would really like to see on my blog. I’ve been trying to keep an even spread of topics people wanted to see covered but there was one topic a lot of people were eager to hear about that I’m still yet to discuss…
How do you survive a jam session?? Continue reading
I’ve started working through a new song and a new transcription recently, this month I’ve been looking at On Green Dolphin Street. The version from Oscar Peterson’s ‘Sound Of The Trio’ album swings so hard I just had to transcribe the bass line.
I’ve gotten through the first two choruses, which if you’re familiar with this song is basically, the head and then a laid back chorus before the full walking line comes in. I just thought I’d share what I’ve done so far with you and also ask for some feedback on the new look transcriptions!
I’ve started working with a new program, Notion 4 (review coming soon!) and I get a lot more options. Mainly for you guys, the option to include TAB or not. I’ve uploaded a version below with TAB but I would really appreciate your comments on the issue!
The options being…
- All TAB all the time!
- No TAB ever, let’s learn how to read!
- Upload two versions, one with and one without.
Please leave a comment below and let me know what you think!
The download below is a sample, click here for the post with the full transcription!
Hey bass fans!
I’ve just released a FREE ebook containing five of my favourite Miles Davis ii V I licks complete with notation, an analysis of the lick and some practice tips to include the ideas used into your own playing. You can download the ebook for FREE below!
I’ve also recorded a video of me playing the licks!
To stay up to date with my future posts sign my MAILING LIST this also gives you FREE access to all of my transcriptions!
This is the final post in my mini series about Focusing My Practice Routine. In my last post I looked at the rhythmic aspects to my playing and this week I will be looking at the harmonic areas that needed improving, specifically minor ii V’s.
Minor ii V’s have always seemed like a bit of a mystery to me, there’s no blanket scale that can be applied, each chord is from a different key, which scale do you use for each chord? There seems to be many more options than for a regular major ii V progression. Let me elaborate on this point before I move on; in a ii V i in the key of Bb, the chords will be:
Cm7b5 – F7alt – Bb-7 Continue reading
After recording myself playing over Stella By Starlight last month, I’ve had a lot on my plate practice wise! If you’ve not read that post yet you might find it useful to stop by over there first!
In this post I will just be looking at the issues I had with the rhythms I was playing. Again, in the main most of it I was happy with but the whole idea of this exercise is to be critical and improve as much as possible!
Firstly let me apologise for my lack of posts in the last few weeks, I’ve been super SUPER busy! I’ve just started playing with two new groups, along with teaching, sessions and all that goes along with it! There is a really cool minor ii V lesson on its way soon along with an update on the issues raised in last month’s post, along with some lessons to match of course
I’m also half way through an ebook I’m putting together for you guys. It’s going to be 5 Miles Davis ii-V-I licks complete with analysis and ways to implement them into your playing. This is going to be absolutely FREE so I will keep you all posted!
John Coltrane’s solos always blow my mind. Whenever I pick any of his lines to learn I purposefully pick parts that sound ‘easy’. Now easy is a relative word when you’re talking about Coltrane as none of it is really easy! I find his solos feel completely different to play than I expected they would when I was giving it my first few listens through.
His phrasing is like nobody else I’ve ever transcribed, he seems to play with a complete disregard for bar lines, up beats, down beats or anything else. It really feels like he’s just playing. While this is great, it makes the job of learning, notating and analysing his parts a little more difficult than usual, but I do my best, so here we go!