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I'm working very hard on this tune and thinking about it.

Here's a decent version. I work on trying to have good time and being articulate. I think for the most part I am. At the end of the tune on the tag I don't feel great about it, but I imagine if I didn't say anything nobody would notice. But I notice!

I try to play lines and focus on putting the harmony in the line and then not having to do so much with the accompaniment.

I say let's work on this tune. I'll get Behn and Oliver to post lessons on it also.

Hello all,

Here's another dampening lesson! This is a cool one, and one that has become an integral part of my playing recently.

Hey everyone,

I think this is pretty cool. "Pitch bending" is something I've been messing around with on the vibes, especially in a blues context, but also in ballads and really any setting you want. Let me know what you think!

I have been playing the changes of Just In Time, lately.

And I always think in terms of solo playing and holding four mallets.

When you're playing lots of notes, you don't need chords. At this tempo, I'm mostly playing 8 notes in a bar. I need most of the time, 2 notes to spell the chord. Once I have cycled through the changes and played the head, the harmony is there. I don't need. In fact if I do a good job playing through the changes on the head, I can even make mistakes and get back into the changes and the listener should be fine. So I think!

For this first part, memorize the first four measures of the tune. Pt 1b coming shortly!

In this video I'll cover the basic soloing techniques you'll for getting started with jazz standards.
1)Tonality: play around the tonal area
2)Chord tones and passing tones
3)Scale solo

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Hey everyone,

A quick lesson on selective dampening. This is a subject around dampening that isn't talked about very much, but I think it has a lot of potential! Let me know what you think.