Blue Bossa

[BigDaddyLoveHandles]

Originally Posted by Marten

Hi everyone, have you noticed that in the original Henderson version, it sounds like they're playing a Bb7 (or Bb13) in bar 4. (easy to check for all of you out there with Spotify..) Could this be the case..?? Feels a bit... well, bleak, to move from Bb7 to Dm7b5, I think...

Yes, Blue Bossa is just one 2-5-1 after another except for that. Bb7 to Dmin7b5 is more of a non-progression. I cheat and pretend it's all Bb7

[Drumbler]

It's a beautiful song no matter how you play it.

[Little Jay]

Bb7 would be quite possible, as it is the V of Ebmaj.

Try substituting the Fm7 of bars 3 and 4 with the following ascending chords (play each chord for two counts):

| Fm7 Gm7 |Abmaj7 Bb7 |

You are just playing the modes of Ebmaj of course. The same trick can be done once you land on the Dbmaj7 in the B-part. You can play
| Dbmaj7 Ebm7 | Fm7 Gbmaj7 |.

I realy like to play the Abmaj7 instead of the Fm7. I think it was the version of Vic Juris and Giuseppe Continenza on "Journey" where I heared that.

[BigDaddyLoveHandles]

Originally Posted by Little Jay

Bb7 would be quite possible, as it is the V of Ebmaj.

Try substituting the Fm7 of bars 3 and 4 with the following ascending chords (play each chord for two counts):

| Fm7 Gm7 |Abmaj7 Bb7 |

You are just playing the modes of Ebmaj of course.

I like that!

But I think Martin's grumble was that the next chord after this is Dmin7b5, and Bb7 -> Dmin7b5 is nearly static.

[Little Jay]

ah, true, Bb7 - or especially Bb9 - and Dm7b5 just differ bij de Bb in the root.

That's why I play my Bb7 bebop-run over Dm7b5. Sounds great!

[jeffstritt]

Originally Posted by Little Jay

That's why I play my Bb7 bebop-run over Dm7b5. Sounds great!

Make sure you brought enough licks to share with the rest of the class!

[jazz omaha]

I began with trying to read it after listening to it a few times because im trying to get better at reading.

[jeffstritt]

Originally Posted by jazz omaha

I began with trying to read it after listening to it a few times because im trying to get better at reading.

It usually helps to really get a feel for the melody in your head before you learn a tune, because chances are you wouldn't just play the melody straight like it is written. Most players are going to take a few liberties and add embelishments.

[Marten]

Originally Posted by jazz omaha

I began with trying to read it after listening to it a few times because im trying to get better at reading.

So how can you be sure that the sheet you're reading is similar to the one you're listening to...? I know for a fact that the RealBook version of Blue Bossa differs from Henderson's (on the album Page One, wich is listed as source in the Book). Only in some details, but still, it messes up the whole concept of reading syncopation...

[3shiftgtr]

Originally Posted by Marten

So how can you be sure that the sheet you're reading is similar to the one you're listening to...? I know for a fact that the RealBook version of Blue Bossa differs from Henderson's (on the album Page One, wich is listed as source in the Book). Only in some details, but still, it messes up the whole concept of reading syncopation...

You can't. Cuz any 'fake book' charts are not transcriptions. They are 'intention based' written arrangements.....

And the Real Book is a fake book...hence the humor in its name...

[Scrybe]

versions to check - +1 to Mr B suggesting Kenny Dorham original, the Joe Henderson, and the Pat Martino version off Exit. I think Joe Pass also did it on an album. Love Mike Walker's version, but it is a bit different to how I've heard it played (locally it tends to be a pretty standard slow Dorham style version that gets the air).

The book you mentioned is this - Amazon.com: Progressive Steps to Syncopation for the Modern Drummer (Ted Reed)…
I have a copy and it is really good. I use it to practice sight reading rhythms. It gives you two lines to play simultaneously. I alternate between just reading one line, and reading both - using a chord and a thumb-on-basss and fingers-on-treble approach to comping chords with it.

You could also check out Amazon.com: Modern Reading Text in 4/4 For All Instruments (0029156061369): Louis Bellson: Books though there are a couple of typos (bars in 4/4 with an extra beat in the bar).

Not sure where the Bb chord is coming in - I've only ever heard/played it in Cmin, so the chords would be....

C-7 | C-7 | F-7 | F-7|
D-7b5| G7(with sharp9th if you want)| C-7 |C-7|
Eb-7| Ab7| Dbmaj7 | Dbmaj7|
D-7b5|G7(again you can sharpen the 9th)| C-7| D-7b5 ' G7|

agreed with the posters above on learning how to construct chords - really useful for understanding theory, reading chord charts, and understanding the fretboard. Really simple to do once you get the hang of it.

I'm currently using BB to practice arpeggios on. Love that tune.

Sorry I'm not more help - I'm zonked. But I'll try to check in tomorrow and post more clearly if I think of anything that could help.

And if I can figure out how to use tabbing software, I'll try to write up some charts with example chord voicings for you - I have a couple I use for this, but I've been meaning to use it to experiment with voicings on, so if I can get the software to work, it'd be no bother for me. Let me know if you're interested.

And I second Mr B's comment - your tutor sounds pretty weak. There seems to be a disconnect in your lessons and you'll suffer for it - try to figure out what that disconnect is, and fix it asap. Even if it means finding a new teacher.

All the best.

[Little Jay]

Originally Posted by Scrybe

Not sure where the Bb chord is coming in

The Bb7 is the V of Eb major, which is essentially Cm. So you can theoretically play the Bb7 to subsitute any chord in the key of Cm (if it sounds good, theory is only theory).

Try to play this for the A-part:

|Cm |Cm |Abmaj7 |Bb7(13) |
|Dm7b5 |G7#5 |Cm7 |Cm7 |

Or this:

|Cm |Cm |Fm7 Gm7|Abmaj7 Bb7|
|Dm7b5 |G7#5 |Cm7 |Cm7 |

It's just a variation, the Dm7b5 could also be replaced by it's tritone, the Ab7. Gives yet another variation with another colour. I use this kind of substitutions in soloing: play the arpeggios of the substitutions or use them visually for target notes.

[fefe]

Hi everyone, i am new to Jazz, and are trying a bit to improvise over this blue bossa. i got a question about this tune, its about the Bb note, how do you deal with this note?do you think i should use it to approach the B on the next section to have a sort of chromatic sound (Dm75b-G7), or is it better to avoid using it in any run?thanks

[Little Jay]

For me, the Bb being the minor third of G would be an avoid-note or a passing note in G7. As a passing note it can indeed ad some chromatic flavour to your lines, doing that with the minor third over 7th and maj7th chords is certainly not uncommon. (try playing G - Bb - B - C - C# - D over the G7 )

But as always: use your ears, if it sounds good it is good! Try to make a lick that ends on the note you want to try out. Then you will usualy immediately hear if it doesn't sound good (to your ears). I think this is a useful exercise to do with any not of the scale, it realy helps develloping your ear and get a feel of the function of the different notes.

[bako]

Bb is a note that can be used against every chord in the song.

Cm7----Bb is the b7
Fm7----Bb is the 4th
Dm7b5--Bb is the b6 (part of locrian of Eb Major)
G7+-----Bb is the #9
Cm7
Ebm7----Bb is the 5th
Ab7------Bb is the 9th
Dbma7--Bb is the 6th
Dm7b5
G7+
Cm7

For final proof Bb is played in every phrase of the melody.
If you like the melody then you can probably live with using Bb in your improvisation.

[Little Jay]

Hahaha Bako, rather then mentioning where you can use the Bb, I choose to mention where I would avoid it! Because you can use it almost everywhere indeed.....

[brian329]

There are basically two sets of notes in Blue Bossa.....an Eb scale against the A section and a Db scale against the B section. I'm not suggesting that one should play scales by any meas, but those are the note choices.

The "outside notes" of each scale can be used for color, for instance a B natural against the Cm and an E natural against the Fm. The only thing that doesn't work for me is playing the B natural during the Dm7b5 chord. It resolves nicely over the G7, but if you play it too soon, it sounds too ethnic for my ears in this song.

Pentatonics also work...Cm over the A section and Dbmaj over the B section.

If you play the simple Eb and Db major scale notes and use them in 3rds 4ths or even 5ths, you have several opportunities. As was already mentioned, the Bb BeBop works over the Dm7b5. Whole tone and diminished work as well, and if you get really lost for ideas, play the melody of Up Up and Away over the first 4 bars of a chorus.

[BigDaddyLoveHandles]

Originally Posted by fefe

Hi everyone, i am new to Jazz, and are trying a bit to improvise over this blue bossa. i got a question about this tune, its about the Bb note, how do you deal with this note?do you think i should use it to approach the B on the next section to have a sort of chromatic sound (Dm75b-G7), or is it better to avoid using it in any run?thanks

First, take a look at the melody -- there's a Bb held over the G chord.

Second, take a look at the chord progression: Dm7b5 Galt Cmin -- that's a standard minor II-V-I.

[fefe]

Thanks for the answers guys...i guessed i forgot that the altered G can be #9, i used to play b9

[devinmcmanus]

I'm in the process of learning this tune. My teacher suggested that I practice comping to a recording of a bass / drum / horn trio. Ideally like A Night at the Village Vanguard. Anybody know of such a recording?