Billy Wooten was the vibes player on a couple of Grant Green soul-jazz albums, and after touring with Green he decided to come off the road and settle in Indianapolis. As a matter of personal taste, I happen to really enjoy soul-jazz with an organ player in the group and eventually discovered Billy Wooten by accident.

Billy appears to have enjoyed a great life and departed this mortal coil in 2016, but I've been listening to this new released of lost tapes on YouTube. I thought I'd share the link here.

Hi all,

I wanted to create some exclusive content for VW. So this video is unlisted on Youtube, but I am posting it here... Hope you enjoy!!

Steve

Hey Everybody,
February's show is coming up fast. Here's the line-up:
Christos, Stefon, Gary, Chuck (two tracks), Tim, Behn, Bobby, Hendrik, David, Arthur, Steve N., Steve S., Tony, Kym, Jay and Steve H. A collection of the exceptional. You know them all, and if you don't, all the more reason to tune in.
My half hour of Where Jazz Goes includes two Sting tunes, two very different Beatles compositions, a Percy Mayfield hit and one from West Side Story. So, stay "Cool" and listen in.
www.gloriajazz.com

I told myself before this performance, to just have a good time, and practice in front of people. This is my attempt at putting the "play" back into playing.

Hi all! I've been working on Woody'n You this week and thought I would share. Solo playing is very challenging for me. I've been trying to work slowly with the metronome and figure out how to accompany myself in a few different ways.

Here is a couple of ways you can fill the space in between bars.
Those ideas could be use as harmonic or melodic device.

1. You can approach any chord with a dominant 7th chord built a half step up or down your target chord:
e.g. C can be approach with a Db7 or B7

I use this turnaround: C-Am-Dm-G7 and at the end I precede each chord with a dDom7 B7-C-Bb7-Am-Eb7-Dm-Ab7-G7.

2. Harmonize any given major or minor scale using a dim chord (G7b9) as a passing chord:
C6 - Ddim7 - C6/E - Fdim7 - C6/G - Abdim7 - C6/A -Bdim7.

Here is a couple of ways you can fill the space in between bars.
Those ideas could be use as harmonic or melodic device.

1. You can approach any chord with a dominant 7th chord built a half step up or down your target chord:
e.g. C can be approach with a Db7 or B7

I use this turnaround: C-Am-Dm-G7 and at the end I precede each chord with a dDom7 B7-C-Bb7-Am-Eb7-Dm-Ab7-G7.

2. Harmonize any given major or minor scale using a dim chord (G7b9) as a passing chord:
C6 - Ddim7 - C6/E - Fdim7 - C6/G - Abdim7 - C6/A -Bdim7.

Some thoughts about ballad playing.
Let me know what is your pov on this topic.

www.giovanniperin.com

Working on the bebop dominant scale is important. This is a mixolydian scale with a half step between the root and the 7th. So in the key of C the scale descending would be.

C B Bb A G F E D C

Print out the pdf, The first chord is a D7, you write in the chords and look at each bar and the notes. Play this exercise, in fact memorize it.

Can you make up your own bebop dominant scale licks?

I have two tracks here, one with the melody from the pdf and one where you can make up your own stuff and cycle it through the cycle of 5ths.