Joeless Shoe “Midsole” CD
This is the third album from the jazz trio, JoE-LeSs shOe. The title Midsole makes reference to the fact that the album was recorded during a tour of the Midwest (Kansas City, MO) in the summer of 2013. It features original
~Lesson 89: Altered Melody
This is a simple Altered Melody that works on a dominant 7th chord with a #5, #11, #9 and b9 and comes from the 7th mode of melodic minor (i.e. B7 alt = the 7th mode of C melodic minor).
~Lesson 85: Intervallic Ideas
Studying with George Garzone was always extremely inspiring and challenging. One seemingly simple assignment he gave me when I studied with him at Berklee in the 80’s was to play random intervals or random notes. The challenge was to actually
3-ish “Events”
Events is the follow up album to our first 3-ish’s release, Baobab (2009). Events features new original compositions by all three band members and a few re-inventions of some familiar standards. The group recorded nearly 20 tunes over 2 days in the studio
Lesson 38: 1st Inv Triads
Over the years I consistently hear from my students, “I know all my triads” and, “I know all my major scales”. After closer examination, it turns out that, for many developing sax players and musicians, this often means root position
Joe-Less Shoe “Out sole”
The Trio “Joe-Less Shoe” featuring Jamie Rosenn (Guitar), Jason Harnell (Drums) and my self Matt Otto (tenor sax/octaver) have released our second album entitled “Outsole” on the Jazz Collective Records Label. We did the recording in one day at Nolan
Modern Jazz Vocabulary Vol.2
The second volume of Modern Jazz Vocabulary is finally done. I made some changes in the books format based on a lot of the feedback I got from people about vol. 1. This book is bigger in size but should
Lesson 37: Singing Modes
This is an exercise I came up with since I have carpal tunnel syndrome and can’t play as much as I’d like to. I either sing along with this mp3 or I do long tones on the root while listening
Lesson 36: ii-V-i Harmonic Min.
This exercise is a (second) example of using a harmonic minor scale to create a melody over a minor ii-V-i progression. To do this we use the harmonic minor scale of the i chord. For example in a D-7b5 (ii),
Lesson 35: ii-V-i Harmonic Min
This exercise is an example of using a harmonic minor scale to create a melody over a minor ii-V-i progression. To do this we use the harmonic minor scale of the i chord. For example in a D-7b5 (ii), G7b9,b13
Lesson 34: V7 Altered Scale
Here’s a simple ‘cliche’ bebop melody that uses an altered scale (the 7th mode of melodic minor) over and altered dominant (#11, #9, b9, #5). In the video, the line is played around the circle of 4ths starting on concert
Lesson 33: Rhythmic Grouping
Using odd rhythmic groupings when improvising can be challenging. How many times have you tried to play a seemingly innocent group of 3, 5 or 7 while improvising over a song in 4/4 only to find that you’ve gotten turned
Gallery
