Every Jazz Standard You Need To Know

[00:00:00]When I walked in, we were setting up and we were talking about repertoire. What are the standards that people should know?

[00:00:05]>> Yeah.

[00:00:06]>> Talk talk to us a little bit about that.

[00:00:08]>> Sure. I think first you have to learn um jazz blues.

[00:00:12]>> Jazz blues is step one.

[00:00:14]>> Yeah. Just because you know standard is good but when you jam with somebody and then maybe other person maybe don't know the standards that you know you know. So sometime if you play jazz blues like you know blue monk or you know um uh something kind of simple you know so then but here's two five and four sharp four and one go to six [music] two five and then R 65.

[00:00:57][music] [music] [music] [music] >> [music] [music] [music] >> like that. So that's a series of things I play root 37 like you know simple chord form I play and I play walking baseline I play a lot of a like a simple triadic lick or two five lick but now you if you practice this you have to practice a little bit more deeper not just one patterns just a little bit more variation yeah >> wait so to break that down for a second starting with the shell voicings because someone's watching at home and they want to follow along >> but here's important >> if you say shell voicings already you kind of tell people that's a shape.

[00:02:20]>> Yeah.

[00:02:20]>> Away from shape.

[00:02:21]>> Yeah.

[00:02:22]>> So you have to really understand root seven third.

[00:02:25]>> Yes.

[00:02:25]>> The problem is people learn shell voicing as a shape >> then you cannot apply to different song.

[00:02:33]So this way [clears throat] you know say this is this a shell voicing you know but then root seven third you know flat 7 major [music] 7 dominant 7 minor 7. So now you can play >> y >> dominant major minor like that >> you can take wherever wherever you need to take it.

[00:02:54]>> Exactly. So you know instead of shell voicing you really understand root 7 third root third seven. So now you know guide the tone like that you know.

[00:03:03][music] >> Yep.

[00:03:05]>> So this way when you jump with people you just drop the bass third and seven all the way you know the song. But once again you learn this the next song you learn Autumn Leaves for example. Then same thing.

[00:03:24]You know what I mean? Like that.

[00:03:27]So I'm playing root 37 root 73rd.

[00:03:32]>> So if you're looking in a real book chart and you see tons and tons of extensions. Yes.

[00:03:36]>> On chords.

[00:03:37]>> Yes.

[00:03:38]>> Maybe in this stage don't don't worry about them. Is that kind of what you're saying?

[00:03:42]>> But also Yeah. But also real book is you know >> it's a guideline.

[00:03:47]>> Guideline. Yeah. Real book is not correct. Yeah.

[00:03:49]>> It's a lot of wrong things in it.

[00:03:51]>> Then great musician always fix without telling people.

[00:03:54]>> Yeah.

[00:03:55]>> Okay. So that's like a guideline and then you learn how to play more correct means simple way then you play simple way and then that's that's good enough don't don't need to have a substitution that much you know but then after you learn for example autumn leaves you learn something else has a little bit of extension like for example like that kind of thing Then [music] there's a different story that now >> Yeah.

[00:04:30]>> harmony you're learning besides root 73rd.

[00:04:34]>> Going back to the jazz blues though. So you played that progression.

[00:04:38]>> Yes.

[00:04:39]>> If you're trying to do this on your own, right, >> you would said don't get stuck into one progression, >> right?

[00:04:44]>> How do you know what progression you should be practicing though? or how do you come up with the >> that's that's where you have to listen good records like you know Yeah. So if you learn jazz blues you have to look down like you know Jimmy Smith Jack McDuff anything like you know organ jazz blues it's good because they can't play too fast so easy to learn and the baselines very good way limited because feet you know what I mean so easy to learn. Yeah. So, I focus on old like organ jazz blues.

[00:05:22]>> Like, give us a couple. I think you named a couple, but give us give us a couple to really listen to.

[00:05:27]>> Yeah. Like, you know, uh Jack McDuff, you know, Jimmy Smith, you know, those guys. And then anything like uh uh Gran Green. Yeah. So, those old records, you know. Then what what's happening is you know [music] you learn this jazz blues sometime like that half step down >> like that. Yeah, >> you know sub five in particular records has that sometime you know then you learn sometime uh go to six going down going down going up. So already two two different idea 1 625 1 6 2 5 3 6 [music] 2 5 3 flat 3 2 flat like that. That's already three different types.

[00:06:26]>> Yeah. Yeah. Yeah.

[00:06:27]>> Yeah. So you learn that in jazz blues.

[00:06:29]So you have a lot of guts going into then apply that with the autumn leaves.

[00:06:36]>> Then you >> apply which to autumn leaves? What specifically?

[00:06:40]>> Simple. Simple.

[00:06:41]>> Simple. Yeah.

[00:06:41]>> Keep it very simple.

[00:06:42]>> Yeah. So, so when you learn, don't use any sub five or anything too difficult.

[00:06:47]Everything.

[00:06:48]>> Yes.

[00:06:48]>> Yeah. Simple.

[00:06:50]>> Simplify.

[00:06:51]>> And then when you start to walk the bass a little bit. Yes.

[00:06:55]>> How do you think about where you grab the baseline from? And >> this is this is not scale.

[00:06:59]>> This is not a scale.

[00:07:00]>> No. Most students do scale and sounds like a sounds like a guitar.

[00:07:05]>> Yeah.

[00:07:06]>> So this is you have to really learn >> like you know even um you know uh every day have a blues by BB King. That baseline was amazing. you know live I transcribe the opening track.

[00:07:22]>> Yeah.

[00:07:22]>> I transcribe every note on the paper because I wanted to know they they play eight different chords you know eight times something very similar but sometime different and I like it and because sometime [music] I didn't know two notes each and every like instead [music] of >> [music] >> What [music] >> like that two notes is really grooving.

[00:08:04]>> Yeah.

[00:08:04]>> You don't you can't learn this from written music.

[00:08:08]>> Yeah. You got to listen >> live live.

[00:08:10]>> So you would listen to live at the regal and you would transcribe the baseline.

[00:08:14]>> Yeah. and I applied that into my playing.

[00:08:17]>> So then when you So you you listen to a lot of baselines.

[00:08:20]>> Yes.

[00:08:21]>> And then when you have these sort of simple progressions >> Yes.

[00:08:24]>> you're then using the knowledge you took from those baselines.

[00:08:27]>> Exactly.

[00:08:27]>> And filling in the baseline between these chords. That's kind of how you're thinking about it, >> right? So in other words, jazz blues, but you know, even BB King, you know, like a kind of jazzy blues. Yeah. Then combine everything. Yes. Then sometime I can hear >> [music] >> Sometime I hear [music] >> like that that's already different or something.

[00:09:01][music] [music] Let's just be biking.

[00:09:15]>> [music] [music] >> So this baseline I didn't learn from any jazz guitar lesson everything old records.

[00:09:28]>> Yeah.

[00:09:29]>> Yeah.

[00:09:29]>> And is the key if someone's at home and they're trying to figure out how to play this idea for themselves. You're mostly playing the chords on upbeats mostly.

[00:09:38]>> Upbeat or downbeat? Yeah.

[00:09:39]>> Okay. So So either one. [laughter] Yeah.

[00:09:42]Yeah. Usually upbeat is kind of cool [music] but but sometime look like or down beat [music] now upbeat down beat down beat [music] up beat another was control totally.

[00:10:04]>> Yeah.

[00:10:04]>> So that's good. But if you think everything upbeat then you you are kind of believing the patterns.

[00:10:12]I take as a possibilities, choices.

[00:10:14]That's what I learned from Joa's uh private lesson I did. Yeah. is what specifically the idea of not being boxed into >> you're right >> one idea >> right one or you know sometime boxing one or two ideas you know this is the patterns I should go you know what I mean so this case right you thought upbeat is great I thought too but then some people play down beat so I practice all upbeat or down beat or randomly changing but now play by feeling too much it's really controlling you know yeah so sometimes Feeling is important but sometimes theoretically you know technically you have to control.

[00:10:54]>> Yes. So the first progression you played you might not even remember it. Do you remember which the the very first progression you played? You were playing out the 25. You play a sharp four at one point. What was that progression to? Was that song in particular or you were kind of making that up?

[00:11:08]>> Four. Which one are they?

[00:11:09]>> The first one you did >> jazz blues I played.

[00:11:12]>> The jazz first jazz blues you played.

[00:11:14]What are what for me I think the original question was how do I develop my repertoire?

[00:11:20]>> So what so so like you know jazz blues is one and then you pick like you know minor song. So maybe autumn leaves right maybe major song maybe you learn all of me because all major you know next one you want to learn little bit major and minor there will never be another you like that you know you know just in case blue bossa you know maybe girl from eana you know >> [music] [music] [music] >> that's already you know bosanova music has arranged uh a lot of substitution.

[00:12:03]So this one like so this is like a you know two two seven but really five seven or five you know if you went to Berkeley.

[00:12:13]>> Yeah. Yeah. Yeah. [music] So there's a character [music] [music] [music] like that. So that song it's like some people think Bosanova little cheesy you know some people think that but that's beautiful song again anything popular simple you have to go through it so for you probably six seven song you write it down you study you know very detailed then kind of combining you know ideas like that >> so you mention well what's the jazz blues I think that's the only one you didn't include an example for what's a what's a couple Good jazz.

[00:13:08]>> Oh, jazz is like, you know, Blue Monk is good.

[00:13:10]>> Blue Monk. Yeah, >> that's you say that one a lot actually.

[00:13:13]>> Just because melody [music] >> like a third to fifth. That's really great. [music] >> And where do you how do you how do you learn these tunes? Do you do you start maybe with the real books and then do you have to listen to many many different people playing these or you go to the originals? What's the best way to learn the head? Sometime you know for example blue blue um blue monk original one it's a little messy to me in other words you know um sometime you know jazz player make a melody so far from a real melody >> so I would do >> just read you know real book even though you know not correct >> start there >> yeah start there so you practice clean [music] like that, you know.

[00:14:16][music] [music] >> [music] >> So what happen is then you have a melody [music] [music] [music] >> [music] [music] [music] [music] >> Heat. Heat.

[00:15:15]>> [music] [music] >> So almost like I take a melody developing to the solo. So that I play [music] playing thirds up the neck. Yeah. Yeah.

[00:15:39]>> Like that. Then one part [music] >> [music] >> So everywhere.

[00:15:53]So sometime I teach this song you know motive play like this [music] [music] or sometime [music] [music] >> like that that's already very useful you know even country or pop.

[00:16:18]>> Yeah.

[00:16:18]>> Yeah. Like that.

[00:16:19]>> So I was going to ask so step one is learn the melody.

[00:16:22]>> Yes. And then I was going to ask, you seem to play the lines when you're kind of improvising so effortlessly.

[00:16:29]Is step one to just figure out how to enhance the melody >> to improvise with?

[00:16:34]>> Well, here the thing technically you really have to work on a uh trias.

[00:16:39]>> Yeah, that's the most important thing.

[00:16:40]>> Yeah. So, for example, if I teach, you know, private lesson, I teach uh melody, then make sure melody is really really good. Not just you know got to be really in other words even like sometime people do uh body habit >> like too short sometime you know uh like that. So make sure that >> what do you mean? What were you pointing out there that sometimes people do?

[00:17:09]>> What was the thing you were trying to point out?

[00:17:10]>> Means like you know original one to me [music] space like that, right? Yeah. But then some [music] >> well bad one.

[00:17:25]>> This is bad because >> because you're holding it too long.

[00:17:28]>> Exactly.

[00:17:28]>> It's got to it's got to be within the grid but but not too staccato. Right.

[00:17:33]It's got to feel good.

[00:17:33]>> Right. No stacato, no sustain all the way. It's right on the money, you know.

[00:17:39]That's like a taste, >> right? Too much salt, too much pepper, you know.

[00:17:43]>> How do you know? It's I feel like sometimes it can be hard when you're on your own to self-p police that, right?

[00:17:49]When you point out, it's like, oh, that's obvious, but when you're on your own, that can be a tricky thing to figure out, right?

[00:17:54]>> That's why technically self-taught >> is hard.

[00:17:57]>> It's hard. Also, self-taught is double meaning. Self-taught means yes you did by yourself but then already maybe somebody helped you around you that's different story those musician become better but somebody who staying at home not going out talk with other musician then that's a problem you know yeah yeah so you know um definitely so this case exactly you have to practice it [music] >> all your triads up down the neck Yeah.

[00:18:30]Yeah. [music] E flat, B [music] flat.

[00:18:38]Oops.

[00:18:40]F, E flat, [music] B flat, and F like that.

[00:18:49]>> So you start with the triads, >> I think. So yeah, triads. So this way [music] [music] [music] like that.

[00:19:20]>> So that's following the chords, you Yeah.

[00:19:23]>> Yeah. Yeah.

[00:19:24]>> So, so you know back to the repertoire, you have to kind of list up a repertoire but then each song you have to learn very specific way melody three you know root 37 chords triads then little bit transcribing you know something like that then apply that same idea into different song. So it's a work you know >> and you think it's get five together or or 10.

[00:19:50]>> Yeah. The reason is when people always said I need to learn every song.

[00:19:57]I'm learning different song every day. I learn 100 song. This usually doesn't work because this almost you satisfied by numbers.

[00:20:08]Do you know what I mean? Yes. Hundreds like that.

[00:20:11]>> So I always say less than 10 is good.

[00:20:15]>> Yeah. That's why having a guitar to me it's not great idea to me.

[00:20:18]>> That's right.

[00:20:19]>> Yeah. It distraction. So what though last thing on this topic you were talking about the variations of progressions in a jazz blues >> how do you find those variations if you're only learning one jazz blues let's say >> right so then that case right what you do is like okay so you learn blue monk you know and then you know lio baseline for example you know to go with blue monk >> yeah so now you learn around a B flat so you know comfortable around this area okay >> next one you look cut and maybe strain no chaser F blues. The problem is F blues if you use the same shape you have come here.

[00:20:58]>> Yeah, >> that's a problem.

[00:20:59]>> This is not the the this can sometimes be not the most satisfying place to play on the guitar.

[00:21:04]>> Exactly. That's what you have to learn.

[00:21:09]>> No, different.

[00:21:10]>> Yeah. Or fifth string root, >> right?

[00:21:16]Hey, >> [music] [music] [music] >> hey, [music] hey.

[00:21:47]>> [music] >> this way, you know, it's great. If you play here, it's a little too much, right? So, you have to know kind of around the middle. Yes.

[00:21:58]>> You know, like, you know, so maybe >> I learned like that. This organ thing, >> you see same topo.

[00:22:12][music] What's the thing specifically take away from that change that you were?

[00:22:17]>> Oh yeah. Well, I play same, you know, jazz blues. Yeah. But idea is organ player play pick same notes on the top F. So this way.

[00:22:27]>> Yep.

[00:22:30]>> You're leaving the >> And that's what just just a good exercise. See if you can do that.

[00:22:36][music] >> [music] [music] >> So like that you you need definitely you need to learn chicken shack, Jimmy Smith, Kenny Brell [music] like that, you know that's already play play a little bit Chicken Shack.

[00:23:13]>> Sure. [music] >> [music] [music] [music] >> Similar quality blue monong first two melody same one move one to four.

[00:23:45]>> Yeah.

[00:23:47][music] Turn around.

[00:23:55][music] This is like a great idiom to understand. So in other words, if you play F blues and chicken circle, D is really really important.

[00:24:03]>> Yeah.

[00:24:04]>> So I almost teach everybody about that, you know. Then turn like [music] [music] that. That's very useful. Like >> what is that from? Or that's just a lick. That's >> this is like you know organ player plays you know always these licks you know like it's almost like a pentatonic scale like root flat 5 4 flat 3 major third [music] >> you know same [music] George Benson does >> [music] >> So entire So you can [music] [music] [music] [music] >> again. This is like my thing. There's a lot of dynamics.

[00:25:20]>> I love that though. Right. Thank you.