The Workshop

09/15/2024

Good morning, Workshop! I hope you all are having a great weekend. My apologies for not posting yesterday, but I had a full day here in Pittsburgh conducting a workshop in the afternoon, followed by a gig at night at Con Alma. A special thanks to my brother in time, Tom Wendt! He is doing great stuff here for the music in the Burg, and I’m grateful to have had this opportunity to get to know these bright young musicians as well as for introducing me to a bright young pianist, Antonio Croes on the gig last night. If you are ever in Pittsburgh I highly recommend that you hear these cats. Tom will be one my guests at The Workshop Vol 41 on October 7th. Be sure to come out and hear him!

Philadelphia, Pittsburgh, and Detroit…

I arrived in Pittsburgh’s historic Hill district yesterday not exactly knowing what to do, nor talk about and spent much of my drive thinking. Yes, we can talk about harmony, what tunes, records, cats to check out… that all works. However, when I got out of my car, I felt an energy knowing the significance of this section of the town, just blocks from where Ray Brown and Art Blakey grew up! Pittsburgh is where Roy Eldridge, Billy Eckstine, Erroll Garner, Ahmad Jamal, Ray Brown, Sonny Clark, Stanley Turrentine, George Benson, Jeff “Tain” Watts and many others all hail. I’ve always felt this connection between Philadelphia, Pittsburgh, and Detroit, and would even say that they are the three most important Jazz cities on the planet! The beat, playing styles, and history all are deeply connected, and you can hear it on the records, always some combination of players from these three towns.

That all being said, I just wanted to spend as much quality time with these fine young students and learn something about them, and let be less about me. After some brief introductions, together we listened to Art Blakey’s Moanin’ all the way through and had each of them share something that they just discovered about the performance. They all made some great observations about dynamics, articulations, arrangement, feel/vibe, comping, etc. We of course played and ran the head several times, and each of them took a solo but I didn’t spend much time with harmony and all that stuff. Instead, I realized about halfway through that this workshop was about how important it is to do things together. Not just performing, and rehearsing, but listening and learning TOGETHER. This young group really inspired me with not only their playing but their dedication, focus, and energy. Vibe up Tom for all the great work you do with them! They are lucky to be under your mentorship.

The world is indeed quite a bit different than when I was young. We didn’t have cell phones, social media, let alone the internet, or many other distractions. I feel fortunate to have had that experience of sitting in a club, just listening, watching my heroes and my now fellow peers learn. We all spent some quality time not only doing that, but also engaging in constructive conversation about the music after the sets, which would inevitably lead us to listen intently together, either in our car or at home. Without sounding like a curmudgeon, or old fashioned, I miss those simpler times.

Today’s listening is Jerome Kern’s I’m Old Fashioned performed by John Coltrane from Blue Train. I know this doesn’t have a single cat from the Burgh, (which the students said I can call it) but is definitely the sound and feel that I’m describing from these remarkable scenes. Tonight, I’m going to listen to as much music from this “Orion’s Belt” of Jazz on my drive back to Detroit. I’ll miss it here in Pittsburgh…. I haven’t spent enough time here, but I’ll be back! So soulful here. Keep Listening, and stay old fashioned! -JP

I’m Old Fashoined:
https://youtu.be/HNnM2iRwHLE?si=aqcJ9YkWBuEPOv74

09/13/2024

Good morning, Workshop! I’m taking a break from the bass for the day and using my ears to do my other favorite musical activity, listening! We have covered Everything Happens To Me before, and I always listen to Frank and Chet as my go-to references, but I thought I’d change it up and search for some newer recordings of this popular standard from 1940.

First, I found a 2021 release by vocalist Samara Joy with guitarist Pasquale Grasso, bassist Ari Roland, and Kenny Washington on drums. Wow! I’ve never performed this tune at this tempo, but I have to say that it works, even though I’ve always thought of this tune as a melancholy ballad. She has a beautiful instrument and it’s perfectly complimented by the sound of the trio, simply swingin’ and nothing too fancy, nor complicated. It sounds like they went in and recorded this in one take… and I don’t mean that negatively. It’s refreshing to not hear overproduced, over-arranged standards. The sound is perfect. I’m late to the party checking out Pasquale, but dang! That cat has a beautiful touch and sound. I’ve been familiar with Ari Roland’s bow work since I was a teenager going up to Smalls. He never disappoints, and Kenny Washington as always does his masterful brushwork. He’s one of the best to ever do it, so pay close attention to it my drummer friends. I’m a fan of this recording and will be checking out more of her, as well as more of Pasquale’s work.

https://youtu.be/8b8DUKjY7YQ?si=YviOqwzM5Up73AMG

Next, I found Pat Metheny’s latest solo guitar recording, MoonDial. He made this recording on a custom-built nylon string baritone guitar and a microphone, with no overdubs. This medley of Everything Happens to Me and Somewhere is gorgeous, and perfect for my mood today. I am DEFINITELY buying this when I get done making this post because it reminds me of one of my desert island recordings, Beyond The Missouri Sky with Charlie Haden. I don’t have to waste my breath praising Pat’s amazing guitar playing, for everyone here knows. He sounds like two or three guitarists at times… Pat never disappoints!

https://youtu.be/JcMikCR6-S4?si=FQw40eoChEyzKTxL

Unfortunately, my gig with Johnny O’Neal is canceled tonight in Toledo, but I’m very excited to head off to Pittsburgh tomorrow to do a workshop in the afternoon and perform at Con Alma with my friend, drummer Tom Wendt. I haven’t performed in the Burg in over 20 years, and I am looking forward to playing at a new club and meeting some new friends. I’m also excited that I’ll have a new Pat Metheny CD to enjoy on my trip. Vibes up! -JP

Provided to YouTube by IIP-DDSEverything Happens to Me · Samara JoySamara Joy℗ Whirlwind RecordingsReleased on: 2021-07-09Music Publisher: Copyright Control...

09/12/2024

Good afternoon, Workshop! I spent a few hours today working on Clifford Brown’s Joy Spring. I haven’t worked on this head in over 25 years, but have played it many times with people. It’s equally amazing how much you forget, and how much more you know. I know a lot more about the style and know how to articulate better on the Double Bass now than I did then. Today I approached it completely differently, using all new fingerings, and bowings, using techniques that I’ve learned, and creatively coming up with new challenges to address.

This process is indeed very humbling, but also inspiring, knowing that there is more stuff for me to work on. Here is an under-the-microscope view of what I worked on today. I don’t have a recording to hide behind… Clifford Brown is blasting in my ears! Progress, not perfection. One of the main issues that I’m addressing is bow crossings on the German bow. 25 years ago I was playing French bow. Indeed, I was still working on that then, but with a different stick and different technique. I found a little clip of myself performing with one of my first bosses, the great Philadelphia guitar player, Jimmy Bruno. We used to play this in unison, but here I didn’t probably because he was playing as a chord Melody, which he did masterfully. I’m probably about 22 years old in this video. There’s so much I would love to say to that younger version of myself, but I’m glad I’m still working at this. I’ll keep on! -JP

Jimmy Bruno & Myself

https://youtu.be/Pgxyb9E0YRw?si=50_DBf4sNphSV0eI

09/10/2024

Good morning, Workshop! We were small, but mighty last night. Thanks to all that came through and especially to my special guests Ron English and Renell Gonsalves! Join us in two weeks on 9/23 for Volume 40 with Jake Reichbart on guitar and Rob Avsharian on drums.

Jake selected the tunes for our next workshop, and he included Invitation, by Bronislaw Kaper, lyrics by Paul Webster. Lately, I’ve been reflecting on some of the “beginner” tunes that we all encounter when we start our journey. I admit that I was tired of playing this tune after the first 10 years of performing looooong mindless versions on the bandstand at jam sessions, and my ears became dull to some of the cool and modern sounds this tune has. It’s been recorded by thousands and there is a timeless quality to it.

Some of my thoughts…

First, you can perform this in so many ways and keep it interesting, whether it’s a ballad, up-tempo Latin, swing, or combination, the melody always works. When you find yourself tired of a tune, I suggest changing one of these variables. It will always inspire you to play differently. I’ve done this in 7/4 as well, but there are more options to explore before you get to changing the time signature to avoid boredom.

Secondly, this tune teaches us some great harmony lessons, sounds, modulations and use of substitute dominant chords and a tritone substitution at the end that is a part of the tune. Still, hip, and this is why we still jam on this frequently almost 75 years later! The song is in C-/Eb, but visits several minor keys, which gives this tune its suspenseful and mysterious quality. To begin, the melody arpeggiates a C-6/9 sound, (9,b3,9,6), not C-7 like the chart tells us. Yes, while the corresponding scales (C Dorian, melodic minor) apply, let’s focus on the sound, not the chord symbol. A minor 7th isn’t a place of resolution in a line. It’s leading us to another place, or what I call an “unresolved” V7sus chord. In this case, in measure 6, the Bb in the C-7 resolves to an A in the F7, leading us to Bb, which doesn’t resolve but leads us up a minor third to what your ears want to hear the relative major. Surprise! It goes to the parallel minor, simply meaning taking our tonic Eb major and just making it minor. You hear the opening phrase of the melody once again, up a minor third. Hmm… It appears this tune is saying we need to learn how to transpose simple melodic shapes! This i-7 then acts as a ii-7 leading us down a whole step to Db7, which sets the stage for the bridge, where we modulate to two more keys.

The bridge repeats a motif that is just built of chord tones beginning on the 5th of each chord. (5, b7, R, 9) The 9th becomes the 13th in the V7 and resolves chromatically down to a min 9th on each resolution. This repeats two more times, just moving down a whole step, the final time moving us back to our home key of Eb/C- when we get to the G-. I don’t hear the G- as a iii-, but technically that is what it is. At the end of the bridge, you will hear cats do different things, the most common being an Eb7 #11 for two measures, then the D7 (alt) and G7(alt). I also dig playing the E-7b5 – Eb7 #11 – D 7 – G7, but that depends on the tempo, feel, and style.

I have never been a fan of this lead sheet, for I feel that it was created in a hurry and can be confusing with the D.C. and Coda. I get that it saves paper, but let’s not forget that it’s just a 48-bar ABA’ form. (Three 16-measure sections). This last A is what we call an A’ (A primed), meaning it’s a slight variation on the first A section. At the end of the 10th measure, we take the coda and abruptly get to a SV of the V/V. Wow, I know that is a lot of theory jargon, but this speaks to the true cleverness of this composition. All of this tension builds and resolves back at Eb-(maj7), and then we fall back to C-. Now, on the bandstand, I’ve heard many imply a minor ii-V at the end to get us back. While it’s not always necessary, I do feel that we should observe this change that I scribbled in. (D-7b5 G7b9)

Finally, here is the link to the PDFs for our next workshop. I’ll be in the shed for this one for sure. Have a great week and keep listening! -JP

https://drive.google.com/file/d/1j0lHWZLuEtYoxEZQKbaB_cK34hih2ymK/view?usp=sharing

09/10/2024

We be jammon!

09/09/2024

Good morning, Workshop! I’m looking forward to a great night of music. Ron and Renell are treasures of the Detroit Jazz scene, and I am always grateful to have the opportunity to play with them. Our elders are our link to our past. While it is our responsibility to keep the music evolving and changing with the times, it’s equally important to understand our past. Ron and Renell have well over a century of musical experience and knowledge. I feel incredibly fortunate to have had the opportunity to learn from so many older musicians in my life, and this this a perfect opportunity for some of the young cats here to come out and listen, play, and hang with these gentlemen.

This morning I’m going to slowly wake up to one of my favorite Jazz ballads, Soul Eyes, composed by pianist Mal Waldron. It was first recorded in 1957 for the album Interplay for 2 Trumpets and 2 Tenors, which featured saxophonists John Coltrane and Bobby Jasper, trumpeters Indrees Suliman and Webster Young, Kenny Burrell, Paul Chambers, Mal, and Art Taylor. In 1962 Coltrane recorded this song on his 1962 release, Coltrane, and became a standard and recorded by many. I learned this one from one of my mentors and friend, tenor saxophonist George Garzone. About 20 years ago I was performing with him at Dizzy's and he being one of the torchbearers of Trane called this on me. I had listened to the Coltrane recording so much that I just played it without looking at any lead sheet. This melody just spells everything out. The only real twist is in the first half where it goes to G major and slides down ½ step to Gb major. Other than that, the tune is all functional harmony in Eb/C-.

This melody is beautifully constructed and contains a few harmony lessons that you will want to learn. Waldron said he had composed the melody with Coltrane’s voice in his mind. With a melody this lyrical, you may ask if there are any lyrics. I was 45 years old when I learned there are! My research tells me that there are a few notable vocal versions, including one from Vanessa Rubin’s debut record in 1992. I’ll be sure to check that one out as well! I look forward to playing, hanging out, and listening to you tonight! -JP

Mal Waldron (original)
https://youtu.be/ma4qV8Y_y58?si=mc4E6qS4aZf2I9tX&t=1765
John Coltrane
https://youtu.be/Y_z4pYO4Y_g?si=hsVQm7DMicFe0Reb
Vanessa Rubin
https://youtu.be/3b4n8wuJ0_U?si=u_7IeP-m7Mf6siZ9

John Coltrane, Bobby Jaspar – tenor saxophone....Idrees Sulieman, Webster Young – trumpet....Mal Waldron – piano....Kenny Burrell – guitar....Paul Chambers –...

09/08/2024

Good afternoon, Workshop. I am excited to get together tomorrow night for Vol 39 of The Workshop with my special guests, guitarist Ron English, and Renell Gonsalves on drums. Come on by and swing with us at Parts & Labor from 7:30-10:30, no opening set. We get to work! Speaking of which, I’ve been so incredibly busy that I’m still behind on some tunes. I spent a little bit of extra time with a few of the tunes on the list over the past week including Barbados, Joshua, and today I called Cheek To Cheek on Ab because I felt it was a weak key of me on the piano.

Work on your weaknesses, not your strengths…
This is an important lesson for me that I need to reinforce in my daily practice. We all like to sound good in our comfort zone, comfortable keys, tunes, and tempos, but don’t forget that we make music together and others that you play music with will have their comfort zone as well. It’s important to expand those boundaries so others aren’t always meeting us where we are, and vice versa. When I practice my G Major scale, I sometimes spend an hour on it, and often I’ll work on Ab and Gb to reinforce shifting on the double bass, using different fingerings, avoiding open strings, and anything that makes me think. (Play in intervals, ascending, descending, across/up the fingerboard, etc.).

I practice the same in my repertoire study to keep things fresh, often taking a tune like Cheek To Cheek and playing it on the piano just to see what other possibilities I can come up with. My phrasing may come out different, or I may use a different chord, or harmony altogether just because of familiarity or sound in a register. This is never-ending and inspiring! As you all can see I’m pretty organized when It comes to learning tunes and I have developed this passion for it for decades now. I’m getting better all the time!

We have three more tunes to listen to before tomorrow so I’ll get to it for a few minutes this afternoon with two that I am familiar with but can always brush up on using some of these strategies. (key, feel, tempo). I’m going to listen to Sweet & Lovely by Gus Arnheim, and How Deep Is The Ocean and try to find some versions I am not as hip to.

I always learn something when I listen to Blue Mitchell, and I’m not even familiar with this record, let alone this track. Blue is an unsung hero of sorts, and I feel while he was recorded, and respected, didn’t live all that long and passed away at 49 years of age. He worked in many including Horace Silver, Cannonball, Chick, Philly Joe, Jimmy Smith, Cedar Walton, Jimmy McGriff, Lou Donaldson, and Bobby Hutcherson, just to name a few. I only say that I feel he was unsung because during the time of his career, we had Miles Davis, and Freddie Hubbard and I feel like cats like Blue, Kenny Dorham, and Nat Adderley aren’t spoken about enough.
https://youtu.be/YK_nLCKJhtk?si=Kd5QMgVj7ix-i0Pu

Second, I’m going to listen to a performance of Irving Berlin’s How Deep Is The Ocean from 1996 by Tommy Flannagan with Peter Washington and Lewis Nash. As I cued this one up, I was immediately refreshed to hear it in D minor. (The saddest of all keys!) Peter Washington is one of my favorite bassists in the modern day, always plays great bass lines, so pay attention bassists! Lewis plays some beautifully complimentary brushwork here as well… drummers, pay attention! HA! I had to listen to it twice to catch some of Tommy’s beautiful piano playing I was so distracted by Peter and Lewis. One thing about this tune I am always thinking about is the turnaround at the end of the first half. Many play SV/V (B7 in the key of C min/Ebmajor for two measures. I dig the C-7b5 to F7, but I get it at quicker tempos why cats like to play this change. Philadelphia saxophonist Larry McKenna was the first one to turn me onto this minor detail and I have always remained flexible. Once again, play what you hear, not just what you know. -JP

https://youtu.be/hX5Y8MZ1cJo?si=w10ze9JvdZAnjyLB

Tommy Flanagan (p) トミー・フラナガンPeter Washington (b) ピーター・ワシントンLewis Nash (d) ルイス・ナッシュ1996/03/11&12

09/07/2024

Good morning, Workshop! I’ve been so busy this past week and I know I’m a little behind with the tunes for Monday, but I assure you I will get them all in. My good friend, pianist Peter Kopera sent me some Bill Evans yesterday and went down the rabbit hole. (Thanks Peter!). I usually don’t partake in Bill until the sun goes down. I’m not complaining, I needed it and it was a perfect break from all of the other music I have on the docket this week. I’m up and getting back to our list and the coffee isn’t doing the trick this morning, so I am asking Miles for some help with Victor Feldman’s Joshua from Seven Steps To Heaven.

This is the most difficult tune on the list for us this week. I haven’t played it in twenty-some years other than I use the bass figure to do 10-second soundchecks on occasion, so I need to brush up. If the studio version on Seven Steps doesn’t perk you up enough, I highly suggest the live at the Philharmonic. British pianist and composer Victor Feldman composed this song and it first appeared on Seven Steps to Heaven in 1963 with Mile’s second Quintet. It contains a few elements of difficulty, modal playing, syncopations, time changes, and a quick tempo. Chess is to Checkers as Joshua is to So What.

The tune has a different form, and the solo form is slightly altered, so pay close attention, and keep track of the quarter note! This is constant and never alters, or falters. Tony Williams is dancing all around Ron’s constant quarters and pronounced dotted ½ notes on the bridge throughout. Harmonically speaking, 75 percent of this is in D-, which is much more advanced than playing through tunes that contain well-defined functional harmony. This requires you to use several modalities, not just harmonic minor or Dorian. Don’t be afraid of this tune. Play with rhythmic confidence and bring a vibe.

However, another difficult part is when we encounter this bridge that not only goes into a series of descending ii-V7’s beginning on the relative major, but it switches between ¾ and 4/4. Also on the solos, make a note that they repeat this section 3x. Yes, you can be more deliberate and play ¾ in a Jazz waltz feel, but the goal is to breathe together. Check out the live performance to see how well Tony, Ron, and Herbie do this with ease, particularly on the piano solo, but even under George Coleman’s solo. They aren’t counting, just making musical phrases together. Ok, I’m awake now! Keep listening and stay inspired. -JP

From Seven Steps:
https://youtu.be/xXONYUnppLs?si=JGNTMxcsD_jqGS5x

Live from The Philharmonic (NYC, 1964)
https://youtu.be/0XNvvKo3Ov8?si=ius4AQjBIHBQAaXD

Live in Milan
https://youtu.be/GHiQIh6UrFA?si=ZwjWQuGZuuy8Gx8e

Provided to YouTube by Columbia/LegacyJoshua [2022 Remaster] (Live at Philharmonic Hall, New York, NY - February 1964) · Miles Davis"Four" & More℗ Orginally ...

09/05/2024

Good afternoon, Workshop! For some afternoon listening I’m playing through another old tune from way back in my past, Irving Berlin’s Cheek To Cheek, composed in 1935. It was specifically written for Fred Astaire in Top Hat, costarring Ginger Rogers. It was nominated for best song Oscar in 1936, but lost to Lullaby of Broadway. It’s been five weeks at number one on the Billboard charts and became a popular hit for many including Ella Fitzgerald and Louis Armstrong, Bille Holiday, Lou Donaldson/Horace Silver quintet, Doris Day and Frank Sinatra.

I learned this tune from one of my first employers, Philadelphia guitarist Jimmy Bruno. He did something kind of fun where we would modulate up a 1/2 step in the 2nd time through the B section. The form of this song is very long AA, BBCA. It contains a lot of useful progressions to know, specially in the section where you encounter this ascending motion with the use of connecting diminished chords. They sound very Broadway, but force you to learn how to connect a I chord to a ii- chord, and ii- to a iii-. They are really just substitutions for secondary dominants, but do come in handy whenever you are trying to create more motion in your melodies. Very common to use simple arpeggiation tactics at first, but then you realize you were just beginning your journey into Barry Harris world! This cheeky little number is catchy and I learned a bit from it as a bassist who is always striving to make cohesive and creative contours to my bass lines. I haven’t played it in years with the exception of a few singers, but it’s really a great instrumental tune and surely they get the toes tapping! Keep listening! -JP

Louis & Ella

https://youtu.be/gdS5uRgu_TA?si=Uh3TS0ha8d0OCLhK

Lou Donaldson & Horace Silver

https://youtu.be/hBSdrCHQtcs?si=Hjnkv7z4jujX64yK

Fred Astaire

https://youtu.be/0QYdcHQXwdM?si=-vRAT3gDJ_thvKCp

Jane Monheit

https://youtu.be/JYMDXO-cJoQ?si=cwes6Zx8REhpV7MR

Ella Fitzgerald (1917. - 1996.)Louis Armstrong (1901. - 1971.)Cheek to Cheek(Louis)Heaven, I'm in heavenAnd my heart beats so that I can hardly speakAnd I se...

09/05/2024

Good morning, Workshop! Only a few days left before we all meet again for Vol. 39 at Parts And Labor with my special guests Ron English and Renell Gonsalves! I’m a little behind on my tunes and postings so I’ll be back later with another to talk about another one, but to continue on yesterday’s post on learning standards I though I would ease into my morning with Victor Schertzinger and Johnny Mercer’s Tangerine from 1942 Paramount picture The Fleet’s In.

I remember that I learned this tune on the bandstand at a jam session in 2000 at the Montreal Jazz Festival. I wasn’t familiar with this song and an older musician came up on the bandstand and called it. I said I didn’t know it, and he replied “It’s similar to Cole Porter’s I Love You. You’ll be fine!” He was absolutely correct and couldn’t have given me any more concise information to help me get through it. While the lyric and melody are indeed very different, the form and harmony are similar, and I really only needed to hear my way through the last 8 measures. I of course fumbled my way the first time, but I had it after that. When I returned home from my trip I immediately researched and found many recordings at the Philadelphia public library. Remember, there was no YouTube. One still had to go out to the record store, sometimes multiple in one day just to find the specific recording you were looking for. Oscar Peterson is one of Montreal’s Jazz heroes, so I was told to go find that recording. I did not find that recording when I got home right away, but I did find this Dexter Gordon recording on vinyl at the library and have been playing this tune ever since.

Some standards will help you learn others, and this is another good reason to study the hits. (Thank you Cole Porter!) Not that this is a life or death situation, but my understanding of a basic form being ready to modulate up a third in the first half sure felt like life saving information when I was 21 and onstage in front of hundreds of people that night. I also remember seeing Brad Mehldau, Gary Peacock and Jack DeJohnette out at the bar… I was trembling and sweating, but after one chorus I knew I would be OK. Keep listening, searching and growing! -JP

Provided to YouTube by Universal Music GroupTangerine (Instrumental) · Dexter GordonTangerine℗ 1975 Prestige Records, Inc.Released on: 1975-01-01Composer Ly...

09/04/2024

Good afternoon, Workshop! I’m finally over my “JazzFest” hangover and returning to the swing of things. The Detroit Jazz Festival is a special time for me, and I always fill up on inspiration and catch up with old friends. I also had a blast conducting The Workshop up at Moriarty’s last night and it was great to hear some of the MSU students. Big thanks to Jeff Shoup for the opportunity to share the special thing we have cultivated in Melvindale with our extended Jazz community in Lansing.

Last night I was reflecting on the beginning chapters of my Jazz life and how, when, where, who, and why it inspired me to get into this. Yes, naturally the topic of my upbringing in Philadelphia’s Ortlieb’s Jazz Haus came up, and I shared a bit about the when, where, and who. I’ve learned from many people over my life, and in many communities and places that I’ve traveled. From Ortlieb’s to New York, Chicago, and of course now here in Detroit, I can go on endlessly about the cats that helped me grow.

However, the big question is always the “why”… as in why should we go through the process of learning repertoire and tradition. Why do we learn standards? Why are certain tunes a part of the process, particularly in the beginning? Is Blue Bossa a beginner’s tune? If that were true, then are KD and Joe Henderson beginners? Hardly true. The fact is that there are tunes that teach us valuable lessons both musically and non-musically. First, we learn popular tunes simply because people actually know them and may even pay you good money to listen to you play them! Musically, we gain musical knowledge, form, sense of harmony, melody, and orchestration and expand our palette to compose, and arrange our music/improvisations.

I’m thinking about Bye Bye Blackbird and There Will Never Be Another You today and I’ve been performing these tunes for 30 years. While they are indeed played much, what have I learned from playing them for decades? For starters, I will talk about phrasing. Listen to as many versions as possible to familiarize yourself with the lyrics and melody instead of just learning from the lead sheet. Yes, the lead sheets have all of the information except the phrasing. It’s up to the performer to decide how to phrase these melodies. DO NOT play them as written here! Just look at the opening line in There Will Be Another You. Not that you cannot play this first line in this quarter note rhythmic fashion… it can work if you were to orchestrate it in a horn section or at the piano with some counterpoint because that would be interesting. However, if you are to sing or play this as a solo line you may want to rhythmically break it up by adding articulations, dynamic contour, and shape to your line. Play some notes longer or shorter, etc… some of the best advice I received was to sing the lyric. When we speak, we do this naturally, emphasizing syllables, pausing, and use of inflection within words and phrases. This shouldn’t be any different on your instrument.

Now let’s observe the forms of these tunes…
Both are 32 measures in length but are very different from each other. In There Will Be Another You we have nearly two identical halves that begin on the tonic and go through a harmonic progression of mostly diatonic chords. (within a key). The main difference is the last 4 measures of each half. In the first half, we have a typical V7/V7 cadence that you’ll hear in thousands of songs. This creates suspense. (Ex. All of Me, But Not For Me, Just Friends). In the last 4 measures of these types of songs, you usually encounter a progression that moves quicker and typically will resolve back into our tonic using a variety of harmonic progressions and substitutions. Once again, don’t just play what’s on the page. I encourage you to investigate the recordings that made these tunes famous and find the subtleties that make them interesting.

Bye Bye Blackbird is commonly performed at jam sessions and gigs, both vocally and as an instrumental. Notice that it has two distinct halves, and the recapitulation of the opening melodic theme occurs at the end. This lead sheet I supplied you all with calls this an ABC form. I don’t hear it that way exactly and just see the nomenclature as rehearsal markings. I just hear this tune as two halves, the second half beginning on the iii chord. This form isn’t tricky as long as you know the melody. Once again, do NOT play this as written. I’ll include a few rhythmic variations here. I apologize if this seems obvious and redundant, but too often I hear many great young musicians make less than musical decisions with their phrasing. Maturity comes with years of practice and experience, and we all start somewhere. Keep listening and keep growing! -JP

There Will Never Be Another You:
Lester Young
https://youtu.be/SsekKA-_FNw?si=Tky9Fdy5450g_fD2
Ella Fitzgerald
https://youtu.be/geSQM4xyi_Q?si=ox_5DFZrYZj_rLCl

Chet Baker
https://youtu.be/ytHMBYLwgVU?si=dQY8QDAeGs4H2FpY

Bye Bye Blackbird:
Miles
https://youtu.be/CieM9gurwZ4?si=K_4EnCRN_xublz-3
Peggy Lee
https://youtu.be/UqLF-_9pjnY?si=eO8e7PB50BWvHLgs
Sarah Vaughn
https://youtu.be/2h81Ee36ij8?si=JgWA4mgicPnbGE5h&t=73