It’s easy to get hung-up on possibilities when it comes to chord substitutions. But often, the hippest sounds are accessible by using triads and 7th chords you already know rearranged in melodic shapes. Here’s an excellent example from the great Cannonball Adderley over a classic blues. Take a look at my analysis and then do your own. What do you hear, see and feel? How does it make the most sense to you?
Colorful vocabulary and flowing lines over the blues: Insight and nuggets from Charlie Parker
In this series we’ll explore insightful nuggets from Bird we can use on the blues–and many other places. Things like guide tones, thinking numerically, visualizing shapes, mixing subdivisions to make your lines swing more, a trick to injecting more “drama” in your lines, half-tonguing, alternate fingerings, and more.
Listening Lab: David Sanborn “Hobbies” from Another Hand (a Down-Home Blues in A)
This is a great example of blues-infused bebop (or bebop-infused blues) playing in a “basic I, IV, V blues” setting.
Working the altered dominant scale – Tubby Hayes’ solo on Pint of Bitter
A very blues-y (almost Stanley Turrentine-esque) tenor solo with some great altered scale action.
Make It FEEL Good: Do This to Get Better at Keeping Your Place and Landing Your Phrases in the Pocket
Pat Metheny and Eric Clapton have it. Charlie Parker did, too. Regardless of where you are on your journey as an improviser, understanding this feel will make you sound better. Quickly. This simple exercise will help.
A Faster Path to More Accurate Playing (at Any Tempo) – Slow blues “Chi Chi” in E
When I talk about practicing slow…I mean it. 🙂