Jazz Arranging Course Syllabus, Lesson Plan, Discography, & Bibliography

Compiled By: Jesse Nolan

Indiana University, Fall 2003

Jazz Arranging

Instructor: Jesse I. Nolan Class Times: Tuesday/Thursday 9:00 – 9:45 am for 16 weeks. Course Prerequisite: None Required Materials: Composing and arranging for the Small Ensemble by David Baker Manuscript paper/Score Pad Score Study/Listening: All scores are available in the music library on reserve. All

listening listed in each section of the text are available on reserve as well. Please listen to a few for each chapter.

Attendance Policy: Attendance in this class is the most important part of this course.

Since all notes and topics will be discussed fully in class, doing the assignments is simply not enough. Therefore, attendance is MANDATORY in this class. For each 2 unexcused absences, one half a letter grade will be deducted. 3 tardies equals 1 unexcused absence. If you miss a class for a legitimate reason, please submit your excuse to the instructor.

Quizzes: There will be quizzes on the last day of class each week. Topics

will include what was covered that week and in previous weeks. The midterm will include everything covered the first half of the semester. There will be no final exam because your arrangement will count as your final project (due the last day of regular classes).

Grading: Grading in this course is as follows: 20% attendance 30% chart transcription (2) 20% arrangements/compositions (see class schedule) 10% exercises 20% quizzes/tests *Due dates will be announced during the first week of class. Office Hours: There are no pre-set office hours for this course. If you need to

speak with the instructor privately, please arrange a meeting by contacting him.

Course Schedule WEEK 1:

Topic: Nomenclature (introduction to chord symbols, nomenclature, etc.) Reading: None

WEEK 2:

Topic: Nomenclature/Instruments (review of nomenclature, ranges of instruments, sound chacteristics, etc.) Reading: “Nomenclature” and “Instruments “ chapters. (1 &2)

WEEK 3:

Topic: The rhythm section/piano trio (writing for piano trio) Reading: “Piano trio” and “Rhythm section” chapters. (7 & 8) Assignment: Arrangement for piano trio due.

WEEK 4:

Topic: Construction a melody Reading: “Melody” chapters (4 & 5) Assignment: 3 original melodies, at least 12 bars a piece.

WEEK 5:

Topic: Two-voice writing Reading: Chapter 9

WEEK 6:

Topic: Harmonization Reading: Chapter 6 Assignment: Reharmonization assignment.

WEEK 7: Topic: Harmonization cont.

Reading: Same as above.

WEEK 8:

Topic: Chord Substitutions Reading: Chapter 19 Assignment: Rhythm changes chord substitutions assignment.

WEEK 9: MIDTERM EXAM WEEK 10:

Topic: Writing for a quartet/quintet

Reading: Chapter 9 Assignment: Arrangement for quintet.

WEEK 11:

Topic: 3 voice writing

Reading: Chapter 13

WEEK 12:

Topic: 4 voice writing

Reading: Chapter 14 Assignment: 4 voice arrangement WEEK 13:

Topic: 5 voice writing Reading: Chapter 15

WEEK 14: Topic: 6 voice writing

Reading: Chapter 16 Assignment: 6 voice arranging assignmet.

WEEK 15:

Topic: Score study Meet with teacher to discuss final projects.

WEEK 16:

FINAL PROJECT DUE! (Big band arrangement)

Jazz Arranging Lesson Plan

Course Setting: The students are college age and are either undergraduates or graduates. Since the course is open to all students, some may have musical experience and some may not. Furthermore, those with musical experience may or may not have experience in the jazz idiom. Objectives: The objective of this lesson are: • For students to understand how to fit chords to a given line. • To introduce students to chord subsititutions. Materials: • Composing and arranging for the Small Ensemble by David Baker • Audio examples (CDs from listening assignments and other examples) • Score exampes Lesson Outline: • Once students enter the room and take their seats I will begin by having the students

take out their textbook. • As a class we will highlight the main points of the chapter on fitting chords to a

particular line. • A bass line will be written on the board. Each student will suggest a chord to

harmonize a particular note. • Next, the teacher will play the harmonization the class came up with. • A melody will be placed on the board. The same procedure will follow. • Finally, the teacher will show some acceptable substitutions and assign the chord

substitutions reading for the next class.

Bibliography

Baker, David. Composing and arranging for the Small Ensemble. Alfred Publishing Company, revised 1988. David, Norman. Jazz Arranging. Rowman & Littlefield, January 1988. Dobbins, Bill. Jazz Arranging and Composing: A Liner Approach. Music Exchange, June 1986. Lowell Dick & Ken Pullig. Arranging for Large Jazz Ensemble. Berklee Press Publications, April 2003. Peace, Ted & Ken Pullig. Modern Jazz Voicings: Arranging for small and medium ensembles. Berklee Press Publications, May 2001. Rinzler, Paul E., Jazz Arranging and Performance Practice. Rowman and Littefield, August 1989. Sabina, L. Jazz Arranging and Orchestration. Wadsworth Publishing Company, September 2002.

Discography

Coltrane, John. A Love Supreme, Impulse! 051155-2, CD. Coltrane, John. Coltrane Plays The Blues, Atlantic 7567 81351-2, CD. Coltrane, John. Giant Steps, Atlantic 781337, CD. Davis, Miles. Birth of the Cool, Capitol CDP 792862, CD. Davis, Miles. E.S.P., Columbia 467899, CD. Davis, Miles. Kind of Blue, Columbia CK 64935, CD. Davis, Miles. Miles Ahead, Columbia CK 65121, CD. Davis, Miles. Steamin’, Original Jazz Classics OJCCD 391 2, CD. Ellington, Duke and Count Basie. Battle of The Bands: Duke Ellington vs. Count Basie, RCA, CD. Ellington, Duke. Duke Ellington 1938 vol. 1-3, Classics 700, 717, 726, 3 CD. Ellington, Duke. Jazz At The Plaza, Tristar, CD. Evans, Bill. Waltz for Debby, Original Jazz Classics OJC 210, CD. Houghton, Steve. The Manne We Love: Gershwin Revisited. Redman, Joshua. Spirit of the Moment - Live at the Village Vanguard, Warner Bros. 945923-2, 2CD.

JAZZ HISTORY Course Syllabus, Lesson Plan, Discography, & Bibliography

Compiled By: Jesse Nolan

Indiana University, Fall 2003

Jazz History & Appreciation Syllabus Instructor: Jesse I. Nolan Class Times: Tuesday/Thursday 9:00 – 9:45 am for 9 weeks. Course Prerequisite: None Required Materials: The Jazz Book: From Ragtime to Fusion and Beyond by Joachim E. Berendt *Jazz by Nat Hentoff and Albert McCarthy Notebook *Other books optional but highly recommended in Listening Assignments: All CDs for listening assignments will be on reserve in the music library. Attendance Policy: Attendance in this class is the most important part of this course.

Since all notes and topics will be discussed fully in class, doing the assignments is simply not enough. Therefore, attendance is MANDATORY in this class. For each 2 unexcused absences, one half a letter grade will be deducted. 3 tardies equals 1 unexcused absence. If you miss a class for a legitimate reason, please submit your excuse to the instructor.

Exams: There will be 2 exams in this course: the midterm and the final.

Each exam will consist of two sections: a written section and a listening section. The midterm will cover material from classes 1-8 and the final will be cumulative. There will also be periodic unannounced pop quizzes (5) over reading assignments. There will be NO make-ups for either exams or quizzes unless a legitimate excuse is provided.

Grading: The grading in this course is simple. The midterm and final each

account for 1/3 of your grade for a total of 2/3rds. The pop quizzes will count for the other 1/3 of your grade. Attendance will then be taken into account, resulting in a final grade.

Office Hours: There are no pre-set office hours for this course. If you need to

speak with the instructor privately, please arrange a meeting by contacting him.

Course Schedule CLASS 1:

Topic: Introductory lecture – “The Birthplace of Jazz:” Turn of the century New Orleans Reading: None Listening: None

CLASS 2:

Topic: Ragtime Reading: Berendt, Joachim E., “The Jazz Book,” pp. 3-12 Listening: The Greatest Ragtime of the Century

CLASS 3:

Topic: Early Jazz Reading: Berendt, Joachim E., “The Jazz Book,” pp. 3-12 Listening: Ken Burns Jazz Disc 1 King Oliver’s Creole Jazz Band

CLASS 4:

Topic: Chicago Style & Blues Reading: Berendt, Joachim E., “The Jazz Book,” pp. 13-15; 162-173; 71-74 Listening: King Oliver’s Creole Jazz Band The Bessie Smith Story

CLASS 5:

Topic: Louis Armstrong Reading: Berendt, Joachim E., “The Jazz Book,” pp. 64-71; 199-210

Listening: Hot Fives & Hot Sevens Vol. 1-4 Louis Armstrong: An American Icon

CLASS 6:

Topic: The Swing Era Reading: Berendt, Joachim E., “The Jazz Book,” pp. 15-16 Listening: Ellington/Basie -Battle of The Bands Basie - The Original American Decca Recordings Duke Ellington 1938 vol. 1-3 Goodman – At Carnegie Hall 1938

CLASS 7: Topic: Big Bands

Reading: Berendt, Joachim E., “The Jazz Book,” pp. 399-423; 77-83;

Listening: Same listening as Class 6 plus the following:

Thad Jones/Mel Lewis – Consummation The Great Concert Ellington – Jazz At The Plaza

CLASS 8:

Topic: BeBop Reading: Berendt, Joachim E., “The Jazz Book,” pp. 16-19; 430-434; 89-99 Listening: The Charlie Parker Story The Genius of Charlie Parker Jazz At Massey Hall

CLASS 9: MIDTERM EXAM

CLASS 10:

Topic: Cool & Hot

Reading: Berendt, Joachim E., “The Jazz Book,” pp. 19-23; 430-434

Listening: Miles Davis – Birth of the Cool Art Blakey & The Jazz Messengers-

A Night @ Birdland vol. 1-2 CLASS 11:

Topic: Miles Davis

Reading: Berendt, Joachim E., “The Jazz Book,” pp. 99-112; 199-210; 434-436

Listening: Birth of the Cool Kind of Blue Steamin’ Miles Ahead E.S.P. Bitches Brew CLASS 12:

Topic: Jazz Vocalists

Reading: Berendt, Joachim E., “The Jazz Book,” pp. 375-395

Listening: Pure Ella Ella & Louis

The Quintessential Billy Holiday vol. 3-4

Tony Bennett – Tony Makes It Happen Sinatra at the Sands The Best of Bobby McFerrin CLASS 13:

Topic: Post Bop Reading: Berendt, Joachim E., “The Jazz Book,” pp. 434-436

Listening: John Coltrane – Giant Steps Miles Davis – Kind of Blue

CLASS 14: Topic: John Coltrane

Reading: Berendt, Joachim E., “The Jazz Book,” pp. 112-128 Listening: Giant Steps Coltrane Plays The Blues A Love Supreme Interstellar Space

CLASS 15:

Topic: Avant Garde & Free Jazz Reading: Berendt, Joachim E., “The Jazz Book,” pp. 23-34; 112-128; 436-7 Listening: Ornette Coleman – Free Jazz John Coltrane – Live in Japan Art Ensemble of Chicago – Art Ensemble 1967-68 Albert Ayler – Love Cry

CLASS 16: Topic: The Piano & Pianists

Reading: Berendt, Joachim E., “The Jazz Book,” pp. 272-298

Listening:

Jelly Roll Morton 1926-28 The Amazing Bud Powell Vol. 1 Thelonious Monk – Genius of Modern Music Vol. 1 Bill Evans – Waltz for Debby McCoy Tyner – The Real McCoy Herbie Hancock – Maiden Voyage

CLASS 17:

Topic: Jazz from 1970s – Present (Contemporary Jazz) Reading: Berendt, Joachim E., “The Jazz Book,” pp. 34-59

Listening: Jaco Pastorius – Word of Mouth Pat Metheny – Bright Size Life

Kenny Garrett – Songbook Joshua Redman – Spirit of the Moment Wynton Marsalis - Blood on the Fields

CLASS 18: FINAL EXAM

Jazz History Lesson Plan

Course Setting: The students are college age and are either undergraduates or graduates. Since the course is open to all students, some may have musical experience and some may not. Furthermore, those with musical experience may or may not have experience in the jazz idiom. Objectives: The objective of this lesson are: • For students to gain a sense of social/political context of the 1930s. • For students to become familiar with the major figures and bands of the Swing

Era. • For students to be able to recognize the difference in styles between different

bands such as the Ellington, Basie, Goodman, and Chick Webb bands. Materials: • The Jazz Book: From Ragtime to Fusion and Beyond by Joachim E. Berendt • Audio examples (CDs from listening assignments and other examples) • Ken Burns Jazz: Episode V – Swing, Pure Pleasure Lesson Outline: • Once students enter the room and take their seats I will begin by having the students

take out their textbook. • As a class we will highlight the main points of the chapter on the big bands of the

1930s. • I will highlight other political and social events that took place during the thirties in

order to examine the context in which this music thrived. Examples include: The Great Depression (Stock Market Crash of 1929),

• Next we will begin to listen to some of the music from the bands of this period. Examples include Ellington, Basie, Goodman, Chick Webb, etc.

• As a class we will outline some of the distinctive stylistic traits of each band so that identifying excerpts on the listening test will be a little easier and also to enhance the studying of these bands. To do this we will make a chart comparing certain excerpts chosen ahead of time by the teacher.

• Finally, I will show an excerpt of Episode 5 from the Ken Burns Jazz video series to vividly, in words, pictures, video, and music, tie the topic of this lecture to the events of the jazz and outside world.

Discography

Armstrong, Louis. Hot Fives and Hot Sevens Vol. 1-4, JSP CD 312-315, date, 4 CD. Armstrong, Louis. An American Icon, Hip-O Records, 3CD. Armstrong, Louis. Ella & Louis, Verve 543304-2, CD. Art Ensemble of Chicago. Art Ensemble 1967-68, Nessa NCD-2500, 5CD. Ayler, Albert. Love Cry, GRP Records, CD. Basie, Count. The Original American Decca Recordings, MCA GRP 36112, 3CD. Blakey, Art. A Night @ Birdland vol. 1-2, Blue Note 46519-2 and 46520-2, CD. Bennett, Tony. Tony Makes It Happen, LP. Coleman, Ornette. Free Jazz, Atlantic 8122 72397-2, CD. Coltrane, John. A Love Supreme, Impulse! 051155-2, CD. Coltrane, John. Coltrane Plays The Blues, Atlantic 7567 81351-2, CD. Coltrane, John. Giant Steps, Atlantic 781337, CD. Coltrane, John. Interstellar Space, Impulse! 543414-2, CD. Coltrane, John. Live In Japan, Impulse!, 4CDs. Davis, Miles. Birth of the Cool, Capitol CDP 792862, CD. Davis, Miles. Bitches Brew, Columbia 460602, 2CD. Davis, Miles. E.S.P., Columbia 467899, CD. Davis, Miles. Kind of Blue, Columbia CK 64935, CD. Davis, Miles. Miles Ahead, Columbia CK 65121, CD. Davis, Miles. Steamin’, Original Jazz Classics OJCCD 391 2, CD. Ellington, Duke and Count Basie. Battle of The Bands: Duke Ellington vs. Count Basie, RCA, CD. Ellington, Duke. Duke Ellington 1938 vol. 1-3, Classics 700, 717, 726, 3 CD. Ellington, Duke. Jazz At The Plaza, Tristar, CD. Evans, Bill. Waltz for Debby, Original Jazz Classics OJC 210, CD.

Fitzgerald, Ella. Pure Ella, GRP 51636-2, CD. Garrett, Kenny. Songbook, Warner Bros. 9 4651, CD. Goodman, Benny. At Carnegie Hall 1938 – Complete, Columbia C2K 65143, 2CD. Hancock, Herbie. Maiden Voyage, Blue Note 95331, CD. Holiday, Billy. The Quintessential Billy Holiday Vol.3-4, Columbia 460820-2 and Columbia 463333-2, 2 CDs. Lewis, Mel and Thad Jones. Consummation, Blue Note, CD. Lewis, Mel and Thad Jones. The Great Concert, CD. Marsalis, Wynton. Blood on the Fields, Columbia 57694, 3CD. McFerrin, Bobby. The Best of Bobby McFerrin, Blue Note Records, CD. Metheny, Pat. Bright Size Life, ECM 827133-2, CD. Monk, Thelonious. Genius of Modern Music Vol. 1, Blue Note 781510, CD. Morton, Jelly Roll. Jelly Roll Morton 1926-28, Classics 612, CD. Oliver, Joe “King”. King Oliver’s Creole Jazz Band, Retrieval RTR 79007, date, 2 CD. Parker, Charlie. The Charlie Parker Story, Savoy SV 0105, CD. Parker, Charlie. The Genius of Charlie Parker, Savoy SV 0104, CD. Pastorious, Jaco. Word of Mouth, Warner Bros. 3535, CD. Powell, Bud. The Amazing Bud Powell Vol. 1, Blue Note 781503, CD. Redman, Joshua. Spirit of the Moment - Live at the Village Vanguard, Warner Bros. 945923-2, 2CD. Sinatra, Frank. Sinatra at the Sands, Warner Bros., CD. Smith, Bessie. The Bessie Smith Story, CD. The Quintet. Jazz At Massey Hall, Original Jazz Classics, CD. Tyner, McCoy. The Real McCoy, Blue Note 97807-2, CD. Various. Ken Burns Jazz, Sony, 5CD. Various. The Greatest Ragtime of the Century, Sony, CD.

Bibliography

Berendt, Joachim E., The Jazz Book: From Ragtime to Fusion and Beyond (Sixth Edition), Lawrence Hill Books, Brooklyn, New York; 1989. Hentoff, Nat and Albert McCarthy, Jazz, DaCapo Press, April 1998. Schuller, Gunther, Early Jazz, Oxford Press (Reprint), May 1986. Jones, LeRoi, Blues People. Davis, Miles, Miles, Touchtone Books, September 1990. Kahn, Ashley, A Love Supreme: The Story of John Coltrane’s Signature Album, Penguin Group, New York, New York; 2002. Kahn, Ashley and Jimmy Cobb, Kind of Blue: The Making of the Miles Davis Masterpiece, DaCapo Press, September 2001. Feather, Leonard, The Biographical Encyclopedia of Jazz, Oxford Press (2nd Edition), September 1990. Cook, Richard and Bryan Morton, The Penguin Guide to Jazz on CD 5th Edition, Penguin Books, New York, New York; 1998.

JAZZ IMPROVISATION

Course Syllabus, Lesson Plan, Discography, & Bibliography

Compiled By: Jesse Nolan

Indiana University, Fall 2003

Jazz Improvisation Syllabus

Instructor: Jesse I. Nolan Class Times: Tuesday/Thursday 9:00 – 9:45 am for 10 week semester Required Materials: Jazz Improvisation by David Baker Staff Paper Instrument *Other books optional but highly recommended. Course Prerequisite: A basic knowledge of major and minor scales. Attendance Policy: Attendance is MANDATORY in this class. For each 2 unexcused

absences, one half a letter grade will be deducted. 3 tardies equals 1 unexcused absence.

I. 10 Heads Must Be Memorized (1 per week) Giant Steps Groovin’ High Donna Lee Autumn Leaves Impressions Blues for Alice Ornithology Maiden Voyage All Blues Indiana *All students must test-out of 5 heads during midterm week. The remaining 5 will be tested during the week of final examinations. Details to follow. II. 2 Transcribed Solos (First with music, then memorized)

Student will pick his/her solos individually and must get them approved by instructor.

III. Improvise over 4 types of changes: Blues (Blues for Alice) Rhythm Changes (Indiana) Vertical (Giant Steps) Horizontal (Maiden Voyage, So What) IV. Recognize Jazz Nomenclature.

Schedule of Classes and Materials to be Covered

Week 1 Review of major/minor scales Modes Nomenclature Introduce the Blues Scale. Being learning heads (Blues for Alice) Ear Training (Ear Training For Jazz Musicians by David Baker) Exercises (Chapter 1) Week 2

In depth study of the blues (The Blues: How to Play by David Baker; Nothin’ But Blues by Jamey Aebersold, Volume 42 by Jamey Aebersold) Be-Bop Scale (How to Play BeBop #1 by David Baker)

Heads (Blues for Alice, Ornithology) Cycle Exercises (Chapter 2) Listening Assignment: Charlie Parker, Blues for Alice Charlie Parker, Ornithology Week 3 ii V7s (The ii V7 I Progression by Jamey Aebersold)

Patterns (Improvisational Patterns: The BeBop Era Vol. 1 by David Baker) Heads (Autumn Leaves, Groovin’ High) Cycles (Chapter III) Week 4 Rhythm Changes (Volume 47 I Got Rhythm by Jamey Aebersold) Heads (Indiana) Listening Assignment - Bird Ear Training Week 5

Review for written midterm exam (Nomenclature, Scales, Modes, etc.) Midterm Examination Head Test-Outs (5 heads from weeks 1-4) Transcribe Solo Test Out (2 with music)

Week 6 BeBop Scales/Solos Continued (Improvisational Patterns: The BeBop Era #2 and 3 by David Baker) Heads (Donna Lee) Tunes (Chapter IV) Week 7 Heads (Giant Steps) Tunes (Chapter V) Listening Assignment – John Coltrane, Giant Steps Ear Training Week 8

Heads (Maiden Voyage, All Blues) Ear Training Listening Assignment: Miles Davis, Kind of Blue Week 9 Modal Tunes/Solos Scales/Ideas for Modal Soloing Heads (Impressions) Listening Assignment – Miles Davis, So What John Coltrane, Impressions Ear Training Week 10 Review for Final Examination (Nomenclature, Scales, Chords, Changes, etc.)

Final Examination Head Test Outs (All 10 from weeks 1-9) w/ improvisation Transcribed Solo Test Out (2 without music)

Jazz Improvisation Lesson Plan

Class Setting: The students are high-school aged and are enrolled in the school’s band/orchestra/vocal music program. They all have knowledge of major and minor scales and can all read music.

Objective: The objective of this lesson is to introduce students to the blues, explain its function (chords, scales, etc.) and to give students devices to use in soloing over blues changes. Materials: Instruments Audio and Visual Examples Jazz Improvisation by David Baker The Blues: How To Play by David Baker Volume 42: Blues in All Keys by Jamey Aebersold (for personal practice) Lesson Outline:

1. Warm-up/Ear Training: The teacher will play patterns using both major and minor scales. Students will imitate by ear what is played.

2. Review of previous Jazz Nomenclature lesson. Teacher will write chord symbols

on board and students will respond with the proper notes of the chord.

3. Teacher will review the blues scale in the first 4 keys of the circle (C, F, Bb, Eb). Students and teacher will play blues scale going around the circle to see how far the students can go around.

4. Teacher introduces the form of the blues (standard 12 bar blues)

5. Teacher will then play the changes on the piano while going around the room and

having students take a chorus a piece (using only the blues scale) in a key the teacher calls out (C, F, Bb, Eb). Other students will be given background rhythms to play underneath soloist. Bassists will be allowed to (in turn) walk bass lines. Drummers may be asked to play time, although they will also be required to play vibes.

6. If the previous step is successful, the teacher may then introduce devices for

soloing other than the blues scale (ie. Chord tones, scales, etc.) The teacher may then go around the room again in the same manner as before, allowing student to use these new techniques.

7. Another possibility is to introduce various types of turnarounds.

8. Finally, the teacher may put on a recording of a great soloist (Bird, Miles, etc.)

playing the blues while showing the students the transcribed solo on an overhead. The teacher may then point out how, where, and when the soloist uses the devices being discussed.

Discography

Armstrong, L. (1925-30). Hot Fives & Sevens, JSP CD 312-315. Armstrong, L. (1955). Satch Plays Fats, Columbia 450980-2. Coltrane, J. (1957). Blue Train, Blue Note 7460952. Coltrane, J. (1958). Plays The Blues, Prestige 11005. Coltrane, J. (1959). Giant Steps, Atlantic 781337. Coltrane, J. (1963). John Coltrane and Johnny Hartman, Impulse! 051157-2. Coltrane, J. (1964). Crescent, Impulse! 051200-2. Coltrane, J. (1964). A Love Supreme, Impulse! 051155-2. Coltrane, J. (1967). Interstellar Space, Impulse! 543414-2. Davis, M. (1950). Birth of the Cool, Capitol CDP 792862. Davis, M. (1956). Relaxin', Original Jazz Classics (Prestige) OJC 190. Davis, M. (1956). Workin', Original Jazz Classics (Prestige) OJCCD 296 2. Davis, M. (1956). Steamin', Original Jazz Classics (Prestige) OJCCD 391 2. Davis, M. (1956). Cookin', Original Jazz Classics (Prestige) OJCCD 128 2. Davis, M. (1958). Porgy And Bess, Columbia CK 65141. Davis, M. (1958). Milestones, Columbia CK 40837. Davis, M. (1959). Kind of Blue, Columbia CK 64935. Davis, M. (1960). Sketches of Spain, Columbia CK 65142. Davis, M. (1965). E.S.P., Columbia 467899. Hancock, H. (1964). Maiden Voyage, Blue Note 95331. Holiday, B. (1933-44). Lady Day: The Complete Billy Holiday on Columbia, Columbia 85470.

Jackson, M. (1952). Milt Jackson, Blue Note 81509-2. Jackson, M. (1959). Bags Meets Trane, Atlantic 1553-2. Jamal, A. At The Pershing. Johnson, J. J. (1955). The Eminent Jay Jay Johnson: Volume 1, Blue Note 81505. Monk, T. (1948). Genius of Modern Music: Volume 1, Blue Note 781510. Monk, T. (1952). Genius of Modern Music: Volume 2, Blue Note 781511. Monk, T. (1957). Thelonious Monk with John Coltrane, Original Jazz Classics OJC 039. Montgomery, W. Smokin' at The Half Note. Parker, C. (1945). The Charlie Parker Story, Savoy SV 0105. Parker, C. (1945). The Genius of Charlie Parker, Savoy SV 0104. Parker, C. (1949). Jazz At The Philharmonic, Verve 519803-2. Parker, C. (1950). Bird & Diz, Verve 521436-2. Parker, C. (1953). The Quintet / Jazz at Massey Hall, Original Jazz Classics OJC 044. *This list could go on FOREVER, so I just wrote down a few.

Bibliography

Aebersold, J. Volume 2: Nothin' But The Blues, Jamey Aebersold Jazz. Aebersold, J. Volume 3: The ii V7 I Progression, Jamey Aebersold Jazz. Aebersold, J. Volume 47: I Got Rhythm, Jamey Aebersold Jazz. Aebersold, J., Ed. (1982). Charlie Parker Omnibook, Warner Brothers Publications. Anderson, T. (1995). Groove Master Playing Drum Set in a Jazz Rhythm Section, Hal Leonard Pub. Baker, D. Ear Training For Jazz Musicians (Revised), Warner Brothers Publications. Baker, D. The Blues: How To Play. Baker, D. Improvisational Patterns: The Bebop Era #1. Baker, D. (1985). How To Play Bebop #1, Tichenor Pub. Baker, D. (1988). Jazz Improvisation, Alfred Publishing Company. Boyd, B. (1991). An Introduction to Jazz Chord Voicing For Keyboard, Hal Leonard Pub. Carter, R. (1998). Building a Jazz Bass Line, Hal Leonard Pub. Coker, J. Complete Method for Improvisation, Warner Brothers Publications. Coker, J. (1972). Improvising Jazz, Simon & Schuster Adult Publishing Group. Feldstein, S. (1996). Alfred's Beginning Drumset Method, Alfred Publishing Company. Ferguson, J. (1998). All Blues for Jazz Guitar, Mel Bay Publications. Fisher, J. (1997). Beginning Jazz Guitar Book, National Guitar Workshop. Levine, M. L. (1993). Jazz Piano Book, Sher Music Company. Levine, M. (1996). Jazz Theory Book, Sher Music Company. Mantooth, F. (1986). Voicings for Jazz Keyboard, Hal Leonard Pub