Jazz lessons

Do you want to play jazz?

specially for musicians:

Here you will find everything necessary for playing jazz. Jazz notes, jazz piano notes, jazz transcriptions, jazz piano transcriptions, jazz backing tracks form the basis of the stated course of studies.

(new method)

If you want to learn play jazz, you need to play it. And now you have an opportunity not only to listen, but also to play jazz yourselves, and furthermore, to play it together with eminent masters of jazz improvisation. But the notes, especially in a difficult jazz texture, do not show the full wealth of intonation of jazz improvisation. And now you do not need to puzzle in vain, because you can listen to all the material in detail.

Free Jazz

Free jazz is one name for the music of Ornette Coleman, Cecil Taylor, Albert Ayler, and their colleagues and disciples. Though Coleman and Taylor had recorded before the '60s, the free jazz term was not common until then. The free designation derives from Coleman's decision to offer performances that were not always organized according to preset melody, tempo, or progression of accompaniment chords. Freedom from these guidelines allows improvisers a greater degree of spontaneity than was available in previous jazz styles.

Though nonmusicians find much of Coleman's music indistinguishable from bebop, musicians make distinctions according to the methods used (lack of preset chords) and the melodic vocabulary (original not bebop-derived). Much of Cecil Taylor's music is extremely active. It is densely packed with rapidly shifting layers of complex harmonies and rhythms. And some recordings of Albert Ayler, Pharoah Sanders, and Ornette Coleman include loud screeches and shrieks from trumpets and saxophones, combined with nonrepetitive, highly complex sounds from basses and drums. For these reasons, some listeners equate the term "free jazz" with high-energy, seemingly chaotic group improvisations, even though freedom from adhering to preset chord progressions does not necessitate high "energy" playing or any particular tone qualities or ways of organizing tones for melodic lines. For example, some of John Coltrane's music of the middle 1960s is often classified with "free" jazz, probably because of its collectively improvised turbulence, despite its using preset arrangements of the harmonies guiding the improvisers.

Early Jazz

Early Jazz (1910s-1920s)

FERDINAND "JELLY ROLL" MORTON (1890-1941) Having worked alternately as a gambler, pool shark, pimp, vaudeville comedian, and a pianist, "Jelly Roll" Morton (born Ferdinand Joseph LaMenthe) is perhaps the most colorful figure in the history of early jazz. Born into sophisticated Creole culture, Morton received classical piano training as a child, but he launched his career in the whorehouses and bordellos of New Orleans. Travelling through the South and the Midwest, Morton worked as an arranger and pianist for jazz bands in Chicago, St. Louis, and Los Angeles. Along with his solo work, Morton made a number of recordings with the Chicago Red Hot Peppers in the late 1920s. Morton's style was distinctive in its blend of jazz and ragtime.

As Swing came to dominate the jazz scene in the 1930s, however, Morton was eclipsed by popular artists like Louis Armstrong. He moved to Washinton, D.C., where he worked in small clubs until his death in 1941.

Not all jazz performed in the beginning of the 20th century can be described as New Orleans or Dixieland Jazz. Beginning in the late teens, a rich jazz influence of dance bands and soloists helped in the development and growth of improvisational music. The stride pianist, the early jazz vocalists and the horn soloist of this period have been hard pressed to be categorized. Often these performed have been placed in categories called "Classic Jazz" or "Traditional Jazz" but no matter the term, the sound became a foundation for the Kansas City, Chicago and Swing styles to follow. Among the artists that had a major impact on Early Jazz were Clarance Williams, Bessie Smith and Bix Beiderbecke.

Early Jazz is as much a definition of the time (early teens to mid 1920s) as it is a definition of the sound and style of the music.

JOE "KING" OLIVER (1885-1938) Raised in the musically-vibrant New Orleans, Oliver first learned to play trombone, then switched to the coronet--an instrument he famously used to produce a wide range of "hot jazz" sounds. After working with a number of marching bands in New Orleans, Oliver, dubbed "King" by fellow bandleader Kid Ory, moved to Chicago in 1919 to play with Bill Johnson's Original Creole Orchestra. By 1922, he had established King Oliver's Creole Jazz Band and invited his protege Louis Armstrong to join him from New Orleans. As jazz historians would later note, Oliver's band marked a milestone in jazz music, for, in short, the group introduced Amstrong's playing to the world.

The Creole Jazz Band eventually disbanded in 1924, and Oliver went on to make recordings with Jelly Roll Morton and the Dixie Syncopators. While Armstrong continued to rise in fame, however, Oliver quickly lost his position in the jazz world. He died in 1938 as a poolroom janitor.

Full compositions

Bossa Nova USA

Cool Blues

My Funny Valentine

Stars Fell on Alabama

Summertime

Take the 'A' Train

The Days Of Wine And Roses

The Girl From Ipanema

Who is ohline?

Jazz

World fusion refers to a fusion of Third World music or just world music with jazz, specifically:
(1) Ethnic music that has incorporated jazz improvisations (for example, Latin jazz). Frequently, only the solos are improvised jazz. The accompaniments and compositions are essentially the same as in the ethnic music.
(2) Jazz that has incorporated limited aspects of a particular non-Western music. Examples include performances of Dizzy Gillespie’s "A Night in Tunisia" music on some of the 1970s quartet recordings by Keith Jarrett's quartet and quintet on Impulse, in which Middle Eastern instruments and harmonic methods are modified and used; and some of Sun Ra's music from the 1950s into the l990s, in which African rhythms are incorporated; some of Yusef Lateers recordings that feature traditional Islamic instruments and methods.
(3) New musical styles that result from distinctly original ways of combining jazz improvisation with original ideas and the instruments, harmonies, compositional practices, and rhythms of an existing ethnic tradition. The product is original but its flavor still reflects some aspects of a non-jazz ethnic tradition. Examples include Don Cherry's bands; some of John McLaughlin's music from the 1970s and the l990s that drew heavily on the traditions of India; some of Don Ellis's music of the 1970s that drew upon the music of India and Bulgaria; and work by Andy Narell in the 1990s that melds the music and instruments of Trinidad with jazz improvisations and funk styles.

World fusion jazz did not first occur with modern jazz and its trends are not exclusive to American jazz. For instance, Polynesian music was fusing with Western pop styles at the beginning of the twentieth century, and its feeling attracted some of the earliest jazz musicians. Caribbean dance rhythms have been a significant part of American pop culture throughout the twentieth century, and, since jazz musicians frequently improvised when performing in pop music contexts, blends have been occurring almost continuously. Django Reinhardt was melding the traditions of Gypsy music with French impressionist concert music and jazz improvisation during the 1930s in France.

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