Xenoman

When I improvise, my ideas tend to come in short bursts consisting mostly of quarter notes with a few eighth notes thrown in here and there. I am trying to add more walking 8th note lines, something that lasts 4 bars or more. I have a few stock licks that I know in all keys that fall into this category and I've added a few variations to that. Is it just a matter of learning more of them? Break out Jerry Coker's Jazz Patterns book and get to work?

Also, right now when I improvise I don't think about that stuff - if it comes out, great. If not - I usually don't sweat it. When did this type of complexity start to become natural for you and not something you had to think about? When did you begin to hear these lines and then execute them on your horn immediately?

As always - thanks for the advice!

TrentAustin

I found that as I worked personally on bebop scales, bop lines from the masters, enclosures, and variants of the general bebop language it gave my improvising a lot more fluidity to spurt out 8th and 16th note lines. I really think the benefits from learning bebop such as muscle memory will help build "cartilage" connecting powerful melodic statements and empty parts of your solos you didn't want to be there.


If you want a good place to start the David Baker Book on the Bebop scales is excellent! Jerry Bergonzi also has a fantastic volume out calledthe "jazz line" I think. I also recommend transcribing Bird/Bud Powell/Diz/Clifford Brown/Fats Navarro/Kenny Dorham etc etc etc and assimilating a lot of their "power/finesse" with each players improvisational dexterity. I especially love the OmniBook and Clifford Brown complete transcription book. Start at the source with Bird in my opinion! It just doesn't get any better.


Sorry for the ramblings, I hope it helps!

Best,

Trent
www.trentaustin.com (new improv. site coming soon!)

Xenoman

Trent - thanks for posting this. Combined with your suggestions and what was discussed on TH - I'm golden.

Now I gotta roll up the sleeves and get to work!!