DAVID N.

BAKER'S MODERN JAZZ SERIE

IMPROVISATIOF{AI PATTERNS
rHE BLUES
FOR ALt TREBLE CIEF INSTRUMENTS

M.G.

,t A, mauro grossi
I7-) musicista
ty'ia
cji Salvrano. rr
Yl , f/124 Uvomo - ltatia
Tel. e Fax 0586 ffig7äg
- Celt. 328 2298912

CHARLES COLIN 315 West 53rd St., New York, N.Y. 10019
-
 t
-a,i

PREEACE
"lmprovisational Patterns: The Blues"
is a part of a series of pattern
books predicated on the belief that while certain patterns
seem to transcend
eras and styles, the greater. bgdy of
.improvisafional materials is of high
specificity with regard to its timeänd ptacä within the jazzcontinuum. Unlike
the subjects of the other books in this series "The Beb;;-dr;;öiles
-a
:
a

and 3) and "Contemporary Patterns,"the blues ir trrti t, z

i a music which does
i,
indeed transcend eras and styles and it is this p"ruu"riu",
.dt
universal quality which is addressed in this book.
ubiquitous and
I
if
4

il

_ @.Copyright 1980 by CFARLES COLIN, 315 W.53rd St., New york, N.y. 10019
International Copyright Securäri Made in U.S.A. AI Rights Reserved
t_
TABLE OF CONTEIITTS
t_
Scale Syllabus.... ..........4
t_ Chapter l. The Blues: An Essay. ........6
The Performers... ..........8
Boogie Woogie .......9
t_ Discography .........9
Chapter ll. Some Suggestions for Using
This Book. .......14
t_ FurtherSuggestedStudy. ....1,4
SignalsintheBlues .........15
Chapter III. Blues Patterns.... .........16
t_ Chapter lV. (1) Some Model Solos Based on
Various Sets of Blues Changes. . .26
(2) Some Model Solos Making
l_ Exclusive Use of Specific Scales. .46
WholeTone.. ......46
Diminished ........47
Diminished Whole Tone. . . .49
Lydian Dominant. . .. . . ...50
l-- TthScales .........52
Pentatonics and 4ths. . . . . . .53
Blues Scales .......59
(3) 16BarBlues .....63
t_ (4) BlueswithBridges .......66
(5) Variations on Minor Blues
Changes .......77
t_. Chapter V. Some Popular Boogie Woogie
Patterns . ...75
Chapter Vl. Some Common Riffs and Backgrounds
l_ to be Used as Models . . . . ..80

Chapter VII. Some Model Piano Voicings for

the Blues .........85
t_ Chapter Vlll. Some Model Bass Lines Based on
Basic Blues Changes ......89
l_ Chapter lX. Some Original Blues Compositions for
StudyandPerformance ....92
(1) Brother :.......92
(2) Line for Wes . . . .92
t_ (3) Blues for Bird .........93
(4) The Naptown Strut. .. . . .. . . . .93
(5) The Felix Walk (with bass line). .94
(6) Herman's Theme (with bass line). 96
l-- (7) Le Miroir Noir (with bass line)
from the original recording . . . .98
(8) TerribleT(with bass line). . . . . . .99
(9) Mon (L'odeur du Blues) with the
t-- solo line from the original
recording .....100
(10) Kentucky Oysters (composition
and David Baker's transcribed
L: solo from the original
recording) ...102
(11) Honesty (cr,.rmposition and David
Baker's transcribed solo from the
recording ...
l-- original 105

t--
t_-
 SCALE SYLLABUS
Relationship Of Chords To Scales
Major Famity
Cho.d Typ. (t)
Scrlr Form
Major-13579... .Major12345678
Major(14)13S79[1 1
.Lydian12314567g
Major(14Is) j 3
{s 7 911 1 . . . . . . . Lydian
Augmenred.l 2 3fl4
Major(b619)1gsz gir rr... .Augmented1 [56 78
Major13579 .... 1235 b67
.... . .. diminished 1 b2b3!39456 b78 1

Major13S79....
il;;;;;;;; ::lT:l'cM_ajor1 234sb678
...brueslb3q3414Sb78
....... mjnorpentatonic 1!34s b7g
... Majorpentatonjc 1 23 S6 g

minor Family
Chord typ!
Scsle Form
minor, tonic (l) Function . ........ Dorian 1zbg4'6b7 I
Nalurat minor 1 Z bg Ä S
phrysian 1 b6 b7 I
bZß 4 sb6b7
Ascending Melodic minor
I
12b34567a
Harmonic minor 1 Zb3 4 5167I
mrnor pentalonjc 1
b3 4 5 b7 S
minorTth(r)Funcrion . . ;:,,il,T;tilitlrrt
Ascending melod jc minor
12b345678
Fjarmonic minor 1 213 4
Sb67 1
minor pentatonic 1 b3 4
5 b7 g
örues1b334i4578
dimjnished (start wirh whote
step)
| 2b348415678

Dominanl Family
Cho.d Typo
Sc.l6 Fo|m
Dominanl 7th unattered
13s b79
.
.. Mjxolydian t ZeqSAbt A
Lydian Dominant 1 2 g
Major Penratonjc 1 23 5
14 5 6 b7 I
68
minor pentatonic 1 b3 4
s 67 I
ulues 1 b3 13 4i4 5b7 I
Dominant 7th lrr...... . Lydian domjnant
135 b79t1 1

Oominant 7th b5, 15 or borh. 1231456b78

. .. . .. WholeToner 23r4f5d6
13bs17
r 3f5 b7
13(bsis)b7

4
Chord Typc Seda Form

DominantTth(bg)
-- .. ... .. Diminished
135b7bö' 1b2Fl3l4s6b78
Dominant 7th 19 . ....... Diminishedlb2ß 13i45b78
1 35 bTls Diminished wnole tone
1b2 13!3f4ls168
Dorian12t3456b78
Brues I b3!34$45b7I
ritinor oentatonic 1 b3 4 5 b7 I
Dominant 7th bg and f 9......... . diminisheö1b2b3 !3h56 b78
diminished whole tone
1 b2 b3 13 i4 t516 I
minor pentatonic 1 b3 4 5 b7 I
Elues 1 b3 !3 414 5 b78
Dominant 7rh bs and bg o,',"iTr"i,
13 g4 s 6 b7 s
diminished whole tone
1b2ß!3 14 lsü68
minor pentatonic 1 b3 4 5 b7 8
Bruesl b3!34f45b78
Dominant 7th . . diminisheo scale
bs and b9 13 b5 b7 bg 1bzt3 13$456b78
ls and $e 13 ls b7 is minor pentatonic
b5 anrr is 13 b5 b7*9 1b345 b78
fs and Us 13 ls b7 b9 Brues 1 b3 134$45b78
(and/combination)

Halt-dlminlshed chords

chord Typ. Scda Form

(halt{iminished7th ........... Locrian 1b2b34b5bob78
(ö7) locrian $2
- 1 2 t3 4 b5 bo b7 I
minor 7th (b5) diminished (start with whole step)
1b3bsb
1b3bsb7 12b3414fs678
brues 1 b3 13 414 s b7 8

dlminished chords
diminished 7th . diminished scale
(o7) (starl with whole step)
1 b3 b56 12b34141567I

&t2
 The Btues I he (u) section ot the bfldge ts the secuon wnere new
The blues has had a profound influence on American contrasting material is introduced, (i.e.,
music. It is without a doubt the most widelv used sono
form in black popular music and jazz. As a iorm and ai ABA
influence, the blues can be found in much music of the i- 12---l l*8*r '--12-.
theatre, and in country and western music. lt is the foun.
dation of much gospel music, most rhythm and blues
compositions, much rock and roll music, all booqie _ arbitrary number or bars.)
woogie. as well as other universally popular song forÄs, Examples of such compositions are "Bill not phil" by Bil
and it has shown a decided influence on some European Harria, "Traneing In" by John Coltrane and;an)
Art music. otnerS.
A cu.sory examinatjon of all the recorded iazz music In many instances instrumental blues in the iazz tradt-
would probably reveal an unbelievably high percentage tion tends to.be more predictable and regular in structure
of blues and blues-influenced compositions, as well äs (symmetrical) with the exception of biues by Ornette
blues.influenced performances. Tire yield would be Coleman and those of similar persuasion. (Many avanr-
higher in certain eras than in others. During the halcyon garde players tend toward the säme irregularitiei, asyrr"
days of Bebop it was rare.to find a ZB and later an L.p. metricalities 9nd freedom indigenous to many voca
without a blues on it. blues.) The Classic Blues," 'Ctty Blues" and.othär more
It is not an accident that almost without exceDtion the sophisticated forms have settjed into reqular forma
players who have influenced the flow of iazz have been structures (twelve or sixteen measure oatterns) often a.t
great blues players and,/or composers -well.rooted in the expense of vitality, spontaneity anä the demands oi
blues: Louis Armctrong, Jelly Ro|l j{orton, Count content.
Basie, Earl Hines, Lester young, Charlie parker, While blues instrumentalists of the iazz oenre have
Dizzy Gillesple, Thelonlous ltonk, Sonny Rolling, tended to _accept certain regularities wiih relard to the
Charles llingua, Ornette Coleman, Archie Shepp, numDer ot measures in a blues (i.e., 12, g. 16, etc.).
and othe.s. "Watermelon Man," Herbie Hancock-16 bars-
These men and others, often as not, chose the blues as "Stolen Moments," Ollver Nelson-16 bars, thev have
vehicles fo. improvisation for many reasons, some of been less wedded to the sanctity of the original simple I
which follow: lV V progression. Some of the iubstitute c-hords foi the
1. T}le blues is a highly flexible form with exceedingly instrumental blues follows. (See example l, p. 10.)
simple harmonic structure (thfee chords). Some examples of altered bluej are:',.Dahomev
2. lt allows extreme latitude for musical exDression Dance, John Coltrane; Honesty,'David Baker; Sip
- issuing
J.
out of this simplicity.
lne blues provides a compositional type common
pin at Bells," l|llles Davis; "When Will the Blues Leave,'
Ornette Coleman.
to the background of every would-be jazz player ir- Likewise, jazzmen have been much less riqid in their
respective of era, musical persuasion or stylistic adherence to the 4/4 / 12y8 metric scheme prevalent in
preference. vocal blues, Virtually every meter and combination of
4. The blues is a form that can be .endered as simple meters has been used in jazz blues, i-e., 6/A,314, 514,714.
or as complex as the individual performer/com. 514 + 614,7/8 + 5t8 ad infinitum.
poser desires. Some sample compositions include:
5. The ubiquity of the blues (via radio, T.V., church, 3t4
jukebox, nightclub, etc.) provides a form with which "Valse Hot"-Sonny Rolllng
most aspiring jazz players are at least superficiallv "Kentucky Oysters"-Davld Baker
conversant. "Terrible T"-Davld Baker
. In addition
rormat
to those compositions actually employing a
Dtues structure, lhere are
Compound 6/4-5l4
countless compositionS ''Four-Five-Six''-Lanny Hartley
which borrow heavily on the other components oi blues_ Amalgam 414 I 314 I 214 I etc.
e.g., "Worksong by Nat Adderley, "Moanin'by Bobbv "Blues in Orbit"-Georg€ Ruasell
Timmona, Hummin by flat Adderley. ..Sister Sadier. 12t8
by Horace Sllver and others. "All Blues"-i[llee Davlg
Many jazz players-Oscar peteraon, Horace Sllver. "Roly Poly''-Davtd Baker
Wes llortgomery, Irült Jacklon, Stanley Turrentlne, "Foot Prints"-llilea DavlE
and others-show a decided propensity fär convertinq "Senor Blues"-Horace Sllver
pop compositions to blues typ;s.-This metamorphosis i! "Mohawk"-J.J. Johnaon
usually brought about by the imposition of tÄe blues The next musical consideration is that of melody.
scale, blue notes, certain characteristics inflections and Perhaps it would be best to first examine vocal blues,
phrases, and the unique use of characteristic rhythms. As would be expected the range of most vocal blues
Whatever the means used to effect the change. ail good melodies because of voice limitations is much narrower
jazz playeß evince some aural evidences of their blues (range and general placement within the range) than in-
roots. strumental blues with two, three, four or mori octave in.
What are the musical characteristics of the blues? Most struments, lr ost vocal blues melodies, with the exceo-
blues utilize a twelve measure structure consistino of tions of falsettos and other dramatic note disolacement!.
three chords. Because of the exceptionally pers;nal rarely exceed an oqtave. Many of these bluäs melodies
nature of the blues and its extraordinary flexibility, the are strongly reminiscent of tfe sorrow songs and other
measure structure might include seven, ten, eleven, thir- tour and trve note melodies-
teen, seventeen or any other amount of measures. (Form, Vocal blues melodies while highly personal usually
struqture. internal arrangement are always subservient to derive.their personality from the lyrics and/or style rather
content in the blues and most other African derived than the originality of the musical line, which is often
musics,) The cirord sequence might also vary greatly trite, predictable and derivative. Often a single melody
without causing the blues to lose its identity. For in- will serve hundreds of disparate verses and coÄpositioni.
stance. many blues even have a bridge or releaje section. Blues melodies usually follow the tdnets of other vocal
forms of melody, i.e., essentially diatonic (pertaining to Things such as slides, fall'offs, slurs, grunts, yelps, rips,
the standard major and minor scales and to the tonality yodels and other such inflections have been added to the
derived from these scales), symmetrical, relatively instrumental color pallet. The instrumentalist has also
predictable, and singable. added such idiosyncratic spinoffs from vocal practices
Jazz instrumental blues melodies are often wider in as: lip trills, shakes, various articulations, flutter tongue,
range than vocal melodies (althotjgh often much nar- muting effects, harmonics, and multiphonics (playing
rower in expressive range). Of course, the wider range of two notes simultaneously on an instrument traditionally
harmonic variation permits a commensurately greater thought of as single Iined, i.e., trumpet).
variety of melody types, asymmetrical, angular, wide This wide choice of possibilities, of course, offers the
range, dissonant, and unpredictable. Jazz melodies of the blues vocalist and instrumentalist a great deal of room
blues variety are usually quite distinctive and individual for personalization, This last is, of course, one of the ma-
and much less likely to resemble all other blues jor factors which helps to define blues and jazz.
melodies. Of course, there are many exceptions such as As near as can be ascenained, the blues did not exist in
riff type melodies ("Now's the Time," "Jumpin With Sym- slavery although the group work songs of that era did pro-
phony Sid") and many ultra-funky melodigs ("Sack O' vide an important link. The work songs with their in-
Woe," "Cool Blues"). Exceptions notwithstanding, the in- evitable call-and-response patterns helped to provide a
dividuality of jazz blues is even apparent in works by the form for the blues. But the work song with its inherent
same composer, e.g., T. llonk's "Straight No Chaser," rigidity lacked two vital elements, indigenous to ever the
"Misterioso," "Blue Monk"; or C, Parker's "Bongo Bop," earliest blues types, personalization and flexibility.
"Au Privave,'' "Barbados," "Buzzy"; or George Russell's A second and perhaps even more imPortant con.
"Stratusphunk," and Davld Baker's "Blues for Bird,"
"Roly Poly," and "Brother." (See example 2, p. 11.) tributory element to the blues was the holler, The holler,
unlike the work song, was not intended as a means of
The vocal blues are usually on horizontal scales, such group expression. The holler, in its earliest form, was a
as the blues scales, the major scale or some simple modal means of communication, intensely personal and usually
or pentatonic scale. (A horizontal scale is a scale which is wordless. It was functional. The cry was usually pitched
used to color an entire area of harmonic activity as in the high and with sharp syllables to enable it to be heafd
instance of blues.) The C blues would use one scale to col- across vast distances.
or all of the chords in the tune. (See examples 3 and 4, p. So personal was the holler that around the countryside
1z.l a man could be easily identified by the Pitch, timbbre and
These scales are usually much easier to hear and the shape of his holler. As the holler evofued, it became a
paucity of materials makes improvisation a lot less dif. kind of fteely structured, usually modally derived phrase,
ficult and much more accessible to the novice as well as often melismatic (many pitches to a single syllable), but
the professional blues singer. These horizontal scales, of still highly personal. According to Paul Oliver, the
course, offer the possibilities of the use of chordal adopted sound preference of these later hollers was the
melodies drawn from scale tones. pentatonicscalewithab3andbT(i.e.,D E F C A B C
The blues instrumentalist in jazz usually draws on a or the dorian scale).
much wider variety of scales, although the blues, major The earliest blues, like the hollers, were modal in
and modal scales are still the most popular for realizing character and showed a decided preference fo. the b3and
blues changes. (The horizontal scales are particularly a b7 (flatted third and flatted seventh). Even though the
populqr among the soul jazz proponents, i.e,, Horace blues, from the beginning, was essentially a solo form, it
Sllver, Ramsey Lewls, [.ou Donaldson, the Turren- retained the essential characteristics of the work song-a
tine brothers, the Adderleya, et al.) Some of the other call.and-response pattern (couple and refrain). Prior to
scales with wide-spread currency and the manner in World War I it evolved into the relatively inflexible twelve
which they are used to color the blues chords follow. (See measure three line form that we now know. Buy its very
example 5, p. 13.) nature, and the nature of the blues People, the form re-
Increased possibilities for harmonic variation, of mained subservient to the content but the model was
course, offer a broader base for using different scales, established.
(See example 6, p. 13.) The blues could only have beeir born after a concept of
As with melodic and scalar possibiiities, rhlthmic leisure time, however illusory, emerged. The blues from
possibilities are much less vast for the blues singer than the beginning has been a means of self'expression, a man
the blues instrumentalist. Traditionally the instrumen. alone singing of personal tragedies, or chronicling his
talist (in whatever field) is usually thought capable of han- own heroic feats imagined or otherwise. During slavery
dling a greater variety of rhlthmic structures than the the concept of a black man alone with his thoughts was
vocalist; consequently, instrumental blues (azz) music is inconceivable,
usually much richer is rhythmic materials and variety and In all probability the blues made their first public ap'
contrast. pearance at the juke joints, Saturday night fish fries,
In the area of timbre, the.jazz blue instrumentalist has country suppers, "bar.be-cues," and other social gather'
tended to borrow from the blues vocalist. ln fact, the in' ings of black people. At any rate, by the time of the first
süumentalist has tended to borrow all those things which major migration to the cities by Blacks, the blues was
were originally considered the domain of vocal music. firmly established.
w
ft Ihe Performere use of negleCed intervals, economy of notes and grert
It would be impossible to list all of the performers in pungency of wit. lt is no wonder that Young has been
vocal blues and instrumental blues, but foiour purposes called the great epigramaticist of jazz. His was the splrit
it is possible to enumerate some of the more important of the blues singer-directness, economy of means.
blues singers and instrumentalists across the history of irony, musical double entendre.
black music. Harmonically speaking, Young was th€ first to incor-
These performers in vocal and instrumental music porate most of the revolutionary devices of the thirties in-
have come from diverse geographical, musical and to his own style, Whether or not he introduced them is of
philosophical situations. Each period in black music little consequence, for he was the only iazz player who
.since the early 1920s has produced its great blues per- possessed the tastefulness required to make thern
formers. Jazz produced great instrumentalists and blues musically convincing.
great singers. It would be easier from our standpoint to In many of Young'! solos of the mid.thirties, one may
start with the great blues instrumentalists who detect the instinctive groping toward chromatic progres.
have
issued from jazz. sions of descending minor sevenths, which was to
' Although few if any historians would type l-ouls Arm. become a cliche in modern jazz blues playing some fif.
strong as a blues player per se, it is a fact that the spirit teen years later. There has been much sDeculation and
of the blues is pervasive in much of the playing of his ear. dispute among critics as to whether or not young was ac.
ly years. His uncanny ability to invest even the most tuglly thinking in terms of minor seventh progresiions, or
pedestrian "pop" tune with an air ofjazz spontaneity is at- if he merely liked the sound of something Binny Good.
tributable largely to his feeling for the blues. Aside from man had done as his partner on the Tcddy Wlleon-BllUe
his extensive and skillful use of the blues scale and blue Hollday recording of "l Must Have Than Man."
notes, Armstrong's playing and singing contained a In retrospect it seems only natural that Young'r inven.
great deal of those things which we perceive as in- tiveness would dictate a preference for tunes which mov.
digenous to the blues and roots oriented black music. ed in the conventional cycies of resolvinq sevenths (e.q..
Armatrong's free and imaginative use of vibrato (par- "Blues," "Sweet, Georgiä Brown," and th-ousands of pöp
ticularly what Gunther Schuller in Earlv Jazz referi to tunes). Most of what is truly fascinating about his müsic
as terminal vibrato), his wide repedory;f shakes, trills, stems from the fact that, restricted by the harmonic
his use of elision, slides, slurs, fall-offs, and his imDec- boundaries of the blues and most jazz and pop tunes of
cable sense of swing, atl suggest that if his playing did-not his time, he always managed to replace ionventional
come out of the blues, at the very least, it drew very structures with fresh, colorful shapes sounding at times
heavily from the same sources. perversely complex, but which, in fact, have the true
Most of the great and near great jazz bands of the late greatness of simplicity which is so characteristic of the
1920s and 1930s emerging from the Southwest (Kansas blues.
City, Denver, etc.) were blues oriented bands. That is. lssuing directly out of the southwest, instrumental
their repertoire consisted primarily of blues and blues blues and the Lcster Young tradition, is another sax.
type compositions. The presence of a heavy blues tradi- ophonist, Charlcr Chrlrtophcr (..Blrd'.) parkcr.
tion virtually assured a modicum of experience with blues Parkcr served his apprenticeship in great blues bands
to the young musician from these areas. A cursorv ex- like that of Jay llc8hann. At one time or another he
amination of the recordings of Count Basle, Wiltcr came into contact with all of the great blues shouters and
P_age and the Blue Devils, Alphonsa Trent, B€nny players of the southwest who weie his contemnoraries.
I{oten, and others will reveal an overwhelmino diet of Despite Parkcr'r many innovations he was and re-
blues and blues influenced music. mained throughout his career a blues plaver. lf one were
While the number of brilliant bluesy'iazz soloists to to examine his recording output, he wöulä probably find
come out of this era and area is too vast t; warrant an ex. that the blues comprised well over half of -Bird's" record.
haustive approach, it behooves us to at least examine the ed works. ln addition to this, of his tunes which have
work of the Count Easl€ soloist, who is usually given the become a part of standard jazz repertoire a great mahy of
title of "the fifst great blues instrumentalist." them have been blues: "Now's the Time," ..Billies
Lester Young was the most important soloist to come P"9n.9,1' "Cheryl," "Bird's Blues," "Happy Bird Bar.
bados," "Cool Blues," to mention a few.
ffom the ranks of the Count Baale band. He was the ftrst
of the lreat instrumental players..He was largely respon, Aside from these more obvious manifestations.
sible for the reestablishment of the rhythmic priorities in Parkcr'3 use of the blues scale, blues pattems and th€
jazz, priorities inextricably linked to the blues. Young'e like allowed him to invest any composition with the vitali.
most impo.tant contributions were basically melodic, his ty, urgency and earthiness of the blues. lt is perhaps this
experimentation with sustained rubato phrasing and even attitude about the blues that he was able so lucceisfullv
artlculated eighth notes was something entirely new to to communicate to later generations of players. We can
jazz, Young's musical though! flowed freely over barline, hear this musical phenomenon as filtered throuqh parker
not unlike his contemporaries in vocal blues, His lyricism in the playing of most of the major players of this genera.
extended the traditional riff-style blues melodies com- tion, Cannonball Addcrlcy, Joh; Coltrlnc-, J.J.
mon to soloists of his time. Johnron, Archlc 8hcpp, Ornctte Colcmrn, and
Young's lyric style often impressed many of his con- others.
temporaries with its sophistication in comparison with Continuing the southwest tradition and the Lcatcr
an,thing that had gone before. There is undeniably a Young-Charllc Parkcr blues lineage is another young
sense in which Young's approach to a chord progression southern saxophonist, Orrcttc Colcman. Orncttc was
was more ingenious than that of any of his predecessors. born in Forth Worth, Texas, March 19, 1930. He was ex.
Where Coleman Hawklna would exploit everv note in posed very early to the blues by singers and various
the chord, racing up and down the arpeggioi, Young groups with their ingeniously improvised instruments:
would pass along the same harmonic path by means of kazoos, combs with tissue paper, washtub basses,
omission, implication and suggestion endowing even the spoons, etc, He learned from records the various rhvthm
familiar blues changes with a strange orientation by the and blues tunes as they came out and began mäking
 blues gigs. He along with his young friends "investigated Llghtnin' Hopklns: Createst Hits. Prestige-7592.
the honky tonks where the various rhythm and blues The Legendary Son House. Columbia-CL 2414.
groups played. His young contemporaries included the Shaky Jake: Mouth Harp Blues. Prestige-Bluesville
'later to be famus tenorman Klng Curtle. He consciously 1027 .

imitated the rh,'thm and blues heroes of the day, such as The Immortal Blind Lemon Jeffereon. Milestone-
Lynn Hope, Blg Jay llcNeely, Arnett Cobb, Louls 2004.
Jordan, and Gene Ammons. The blues lessons that he Blind Wlllte Johneon. Folkways-FG 3585.
learned during these formative years have never been Robert Johnson, King of the Delta Blues Singers,
abandoned, He spent some time in Pee Wee Cralrton's Columbia-CL 1654.
Rhythm and Blues band. B.B. Klng: Indianola, Misiissippi Seeds. ABC-S.713.
It seems very natural, in light of Coleman s Huddle Ledbetter: Keep Your Hands Off her. Verve-
background, that blues should be a pervasive influence FVS9021.
on his music. Despite the juxtapositions of usually Crlppled Clarence Lofton. Vogue-LDE 122
segregated elements, his playing has never been any fur- l|lemphls Sllm: Just Blues. Prestige-Bluesville 1018.
ther out than that of a country bluesman. His bluesy, Negro Folk Music of Alabama (game songs and others).
folklike playing and composing have had far reaching ef- Ethnic Folkways Libr ary -78, 447 l-7 4.
fects on legions of young avant garde musicians- Negro Folklore from Texas-4477
State Prisons, Elektra-
Charlea Tyler, Archle Shepp, Albert Ayler, and 8KS.7290.
otnerS. Negro Folk Music of Africa and America. Folkways-
FE.4500.
- BOOgle WOOgle Negro Prison Songs from the Mississippi State Peniten-
Booiie Woogie wä the first and to date the only ex- Tradition-TlP.1020'
--tiary'
Ma Ralney: Blues the Wofld Forgot. BiograPh-12001.
ctusively piano music to issue from the blues. Boogie
woogie, a term which is used to descfibe the blues pian; 1":t: tf-!l:-Blues' Atlantic-1348'
- ptayi"ng inat thrived roughly between the years 192b and story,',col,umbia-cl 855-858'
i9.i5,
-was
a highly popuiar"music in teneÄents. The very Be-ssie :-lllt
P9::l-t Sfilth' The-World's Great Blues Singer.
name "Boogie" was another name for the "house rent tolYt?l=Yt
party. Boti terms describe a phenomenon that took -Rolgevelt Syi{es:".1
,.
The Honeydripper. Prestige-
- ptaci inthe crowded tenements of chicago, Detroit, New ^ t'luesvllle lul4'
Vork and virtually every city with a largi black popula- *nly Terry/Brownle lqrchee. Fantasy-3254.
tion. Because pou.tty *u" u way of liie, black'piople {9e Tu-lTer.'.Bo:s of the Blues. Atlantic-1234.
learned quickly to depend on each other to band together Dlnah washlngton: Best in Blues. Mercury-20247.
- and to work toward common goals. one such goal was Jlmmle-,Wltheiepoon: Evenin'Blues. Presiige-73oo.
that of simply being able to pa/the rent. With u;mploy- t{uddy W-ater8:.After the Rain. Cadet-CS-320.
ment at a irormatl/ nigh level"(at least for Blacks), men !:an:)' Ms-o-n:.llurt.So.Bad' Capitol-ST353'
tong accustomed to s-urviving under the most adverse Howlln' Wolf:l1oanil:rl Moonlight. Chess-1434.
llte
- co.räitions ingeniously devise? a technique that served . women of the -Blues -RcA'victor-LPV 534-
the combined purposäs of raising the reni and providin^ Jlmmie and llama Yancey: Pure Blues. Atlantic-
a means of social intercourse. " 1283'
The "House Rent Party" ("The Parlor Social," "The CollGctlonr
- Boogie") was a party given by a tenant as a means of rais- DiscographylFor the Blues
ing his rent. For the nominal sum of "two bits" or "four Country Blues'Classics. Vol, 1, 2, 3 Blues Classics (A)
bits," the tenant s neighbors were treated to an evening of BC 5/617.
boogie woogie piano by some local hero, some southern The Rural Blues. RBF Records (A) RF202.
! culinary treat such as catfish and Kentucky oysters (bring Conversation with the Blues (documentary). Decca (E)
your own drinks) as well as some "hangin out." Of course, LK 4664.
such parties were reciprocal-"you come help me pay my Screening the Blues. CBS (E) (M) 63288.
rent and I'll come help you pay yours." Blues Roots. The Atlanta Blues RBF (A) RF15.
The blues pianist, unlike most other instrumentalists, Modern Chicago Blues. (An Anthology).
had a great deal of mobility mainly because he didn't Blues Southside Chicago. (Chicago Chess Recording
have to carrv his instrument with him. For this reason the Vol. 1, 2, 3).
blues piano player was often somewhal of a cosmopolite, Blues Singer. Folkways FJ 28V4, Vol.4.
traveling with the mood, or the local Sheriff, struck him. Boogie Woogie. Folkways FJ 2810, Vol. 10.
Some of the more famous boogie woogie players were: The Blues. Folkways FJ 2802, Vol. 2.
iq.ade Lux Lewlc, Albert Ammona, Crippled
Clarence Lofton, Jlmrny Yancey, and Sugar Chlle Boogla WooglG
, Roblnaon, Cow Cow Davenport, Plnetop smith, Jay Honky Tonk Train. Riverside (E) RLP 8806.
- I[cShann, and Pete Johnson. Barrelhouse Blues and Boogie Woogie-1, 2. Storryille
sLP 1.551183.
Dlecography Ciants of Boogie Woogie. Riverside 12-106.
Blucr Boogie Woogie. Folkways FJ 2810, Vol. 10.
Anthology of Rhythm and Blues. Columbia-CS-9802.
Blues Roots. Arhoolie-Poppy 60003. Blu€a Initn rGntrllrts (Jrzz)
R.y CharleE: Genius Sings the Blues. Atlantic-S-8052. Louls Armstrong Plays the Blues. London (E) AL 3501.
Hank Crawford; Mr. Blues Plays Lady Soul. Atlantic- t ester Young-The Immortai Leeter Young. Savoy MG
s.1523. 12068.
W.C. Handy Blues. Folkways-FG-3540. CharleE Parker-Historical Masterpieces. PLP 701.
History of Rhythm and Blues. Atlantic-8 record set. The Happy Bird. PLP 404.
John Lee Hooker: Real Blues. Chess-1508. Ornette Coleman-Change o? the Century. Atlantic
That's My Storyl John Lee Hooker Sings the Blues. tJzt,
Riverside- 12-321. The Shape of Jazz to Come. Atlantic 1317.
t'

Exarnple 1

@ Copyrisht 1980 by CXIÄRLES coUN, 3r5 w.53rd St., N.w York, N.y. l0ot9
Irt6rrtiond Copyrjsir S.dred Made ln U.S.A. AI RiChts Re!€ncd

10
 rl

Example 2
BLUES FOR BIRD
Davld Il. Brkcr
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ROLY POLY Davld II. Bakor

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11
 BROTHER
Devld Il. Bakcr

Example 3 Example 4
Example 5
F

tydr.orr dominont wlolä{o^,e)

A- üt

&,minisrrerf wr.ota tong) wholc +cna)

c F7 I-e.
(aliaisr*a-) (rnr'rory.üon)

Exampte 6

C6('tt)

ff air",irrlsn ., wnob {ore s6or.t l

[6 wn"r" ]one sco-rel

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 SOIIIE gqGGESTIONS
FOR USII{G THIS BOOK
1. Read the various essays found throughout the book. and playing them in the style of the model.
2. Take time to enjoy the recommended readings. f. singing, memorizing and Playing on your instru'
3. Try to listen, in dePth, to as many of the recom- ment (and piano) the various solos that serye as
mended recordings as Possible. models.
Familiarize yourself with as many different styles 10. See how many of the choruses (sets of changes) you
and eras of blues as possible (from Bunk Johnson to can identify with regard to their genesis, then study
the AACM). these originals.
1 1. Experiment with all of the examples before decidinE
5. Investigate through study and performance boogie
woogie, rhythm and blues, classic blues, country on favorites.
blues, bebop, fusion, etc. 12. Read lots of exercises for familiarity with them:
6. Make the learning of a few of the basic blues Patterns memorize and apply those that you like better than
included herein a part of your daily practice ritual' the others.
a. Transpose all patterns to all keys. 13. Practice the licks, patterns, etc. with a rhythm sec'
b. Play all patterns varying temPo, meter' reglster' tion or another horn or a Play'along record. (Jame!
volume, articulation, intensity' etc. Aebersold's play'a-long series is excellent for this
purpose.) The ultimate goal is to internalize as man)
c. If you're in doubt as to proper inflection, articula-
tion, etc., go to the source(s) (Bird, Diz, Ray batierns as possible anä be completely comfortable
Charles, Huddie Ledbetter, Miles' et al.). with them.
d. Strive for authenLicity of expression. 14. lf you are not a piano player' familiarize yourself witl'
?, Play with the recordings of your fav-orite blues thL pages of basic voicings for Piano included herein
olavers and sinqers. Imitate. emulate!: Widen your 15. Bass players should study the line construction tecF'
bluis horizons by continually including singers and niques in the section on bass. Also try your hand a:
Derformers unfamiliar to You. creating original lines on the model substitute
f. if the blues have lyrics, learn them. changes. Listen to a variety of bass Players Playing
9. Make.a thorough study of the different sets of the blues in a variety of circumstances.
substitutions to the blues bYr 16. Once the various exercises, patterns, scales, etc. are
a. transposing them to all keys learned. begin the assimilation Process by repeate:
b. playing them with varied temPos, articulations, and continual use.
expressive markings' etc. 17. Personalize all Patterns so that they fit your Playin!
c. listening to recorded examPles and style, emerging or otherwise.
d. analyzing the various changes and the patterns'
scales, rhythms, etc., used to realize the' Remember no player can call himself a jazz musicia:
e. creating your own solos using the substitutions until he is comPletely at home with his blues.

Further Suggested 9tudY

Gcncral Plano

Baker, David' ImProvisational Patterns' The Bebop Jazz lmprovisation ior Keyboard Players by Dan
- gr", Vof. t, 2, anä 3. (available in Treble Clef or Bass Haerle.
Cle0 JazzlRock Voicings for the ContemPorary Keyboard
Bakei, David. Improvisational Pattems' Contemporary Plaver by Dan Haerle.
piit"rn.. {available in Treble Clef or Bass Clefl Jazz improvisation by David Baker, pg. 133.
Saker, Oavia. Jazz ImProvisation' Chapter Xl
"The
E lues. Gultar
gJer, Oa"fa. Arranging and Composing for the Small
Jazz lmprovisatlon for Rocl</Blues Guitarist, P. Lucas
Ensemble. Chapter XX, 'The Blues and Rhythm ano
Blues A Svstem of Tonal Convergence. Ted Dunbar'
The-1 1-V Cadence as a Cre;tive Guitar Learning Devie
Coker, JerrY. Listening to Jazz'
Coker, Jerry. The Jazz ldiom. Ted Dunbar. (Particularly Pp.3 through 6)
ÄeUersota, iamey. Nothin'But Blues" Vol 2' New ADDroaches to Jazz Cuitar. Ted Dunbar'
The tniirrelationshlp of Chords. Scales and Finger'
Blues are also found in the following Aebersold Play' board of the 12 Tonalities of the Guitar. Ted Dunb-
alonqs: TRANSCRIPTIOTS
v"l. t. s. 6, ?, 8, 10, 11, 13, 14, 77, and' 27
Spcclflc Instrumentt Aebersold, Jamey, Charlie Parker Omnibook' (ava '
able in Eb or C editions)
Bass Viol. llonk lrlontgomery Electric Bass llethod' Baker, David. Charlle Parker Monograph' J'J'
edited bv Davld Baker. Johnson lrlonograPh.
Thomas.:'C'harlle Parker: Techniques of- l:-'
laä impidvisation for Strings, Vol' 2' Cello and Bass' Owens,
- provisatlon, Vols. I t'll (Ph.D. 1974, Oniversity of
David N. Baker.
.larz IÄpäuiiatton. Davld N. Baker, ChaPter XVll' The California, Los Angeles )
--ä".1üi"f
.t See pages 143-1441A Few Hints on Playing
the Blues)
14
I SIGT{ALS III THE BLUES
I 1. A major 7th chord on the first measure of the blues ususally signals the advent of something out of
the ordinary, i.e., "Bird" changes

Fr I E-A, I D-c, I c-Fr etc.

I
I

"Sippin' at Bells" changes

FA I Bb, I n-c- lr*-e,

lj. 2. A major 7th chord in measure five usually signals the advent of something unusual, i.e.,

I r, I r, I r, I r, I ao1 | eo-eu,f n-o,

Ab-Db,lc-l c' erc.

I lr' I r, l-r, I eua I e-e, I a I ao-eo, etc.

t Likewise listen for the dominanHth to signal the return to 'regular' changes,

3. On slow to moderate tempos, very often, the second measure of the blues goes to the lV7, i.e,,

[- F, lBb, I F, I F, I nu, I er'' I n, etc.

t 4. Slow blues particularly in 12y8 meter a la gospel are very often in the Keyof G (probably a carry-over
from "After Hours" played by Avery Parish with the Erskine Hawkins Orchestra).

a. ln the above situation the changes are almost always some variation of the following:

li 12t8 @t C,tG,tG,
c, I c#", IGr IEr
"Roly Poly"
II and
Ar l Dr l G' l G?ll "Mon"

II 5. Db is also a favorite key for slow blues.

6. Whenever substitute changes are used they should be played more than once. They may be initiated
by either the soloist or one of the chord-producing rhythm instrument
II 7. Onusual substitutions which are not yet of the public domain variety such as "Clyde," "Bird," "Sippin'
at Bells," etc., should be discussed ahead of perlormance.

II 8. The favored keys (currently) for the blues are:

F major C minor
Bb major D minor
II C major F minor
Bb minor

II
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bst.t.reo