Jazz Fusion Jam Track in D minor "Vibing" - BJT #57

Get this jam track at bensjamtracks.com (audio file + chord chart) and subscribe to my KZbin channel for more jazz fusion, smooth jazz, acid jazz, latin jazz, neo soul, groove and funk style jam tracks.
This jam track titled "Vibing" (BJT #57) is a play along Jazz Fusion style backing track in D minor at 125 beats per minute (BPM) for practising your improvisation, scales, chord comping and rhythm on instruments such as guitar, saxophone, trumpet, trombone, flute, harmonica, violin, bass and other lead instruments.
► JAM TRACK STORE: bensjamtracks.com
► MY WEBSITE: benharrison.com.au
Available versions for purchase:
► Normal
► "For bass" (for bass players - bass track removed)
► "For drums" (for drummers - drum track removed)
► "For piano" (for chordal instruments - piano/keyboard track removed)
Visit bensjamtracks.com/faq for information regarding usage.
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CHORD STRUCTURE:
The basic chord structure is:
Dm9 - - - | Bm7b5(add 11) - - - | Bbmaj7 - - - | A7#5 - - - |
Gmaj9 - - - | Fmaj9 - - - | Em9 - - - | Eb9 - - - |
Dm9 - - - | Bm7b5(add 11) - - - | Bbmaj7 - - - | A7#5 - - - |
Gmaj9 - - - | Fmaj9 - - - | Em9 - - - | Eb9 - - - |
Bbmaj7 - - - | A7#5 - - - | Dm9 - - - | G13 - - - |
Gm7 - - - | Gm9/C - - - | Ebmaj9 - - - | - - - - :||
Repeat 6 times and play last 8 bars twice on last time through.

[@RaleighJ]

Thank you so much for these fusion tracks! I hope there's more to come!

[@BensJamTracks]

Thank you! Yes, new tracks every week at bensjamtracks.com

[@secret_forest]

i've been practiced bass line in so much backing track maybe for about 5 years, your's is always best ever. please keep making it!! you're top of this field. cant hold no groove

[@BensJamTracks]

More tracks on the way soon! :)

[@MasterOfPuppets929]

holy shit!!! i didnt even realize this was 6 minutes, jamming over this made it feel like it was a minute long. i could jam to this all day

[@BensJamTracks]

Glad to hear you enjoyed it Jimmy! :)

[@BobMinsky]

Great, really great track. Amazing job you have done. Priceless for practising my guitar. It make me feel much better than I am.

[@bernhardtmitdt2586]

Best JamtTrack ever. Thank you!

[@ricdale7813]

These tracks are slammin. Not only for Fusion shredding along but in rotation for just listening pleasure. Superb work. Thank You for sharing These.

[@BensJamTracks]

Thank you Ric - glad you like them! 🙏

[@pbh07]

This sounds like a show piece! Brilliant!!!

[@scottfuscomusic]

This track is one of your very best; some neat harmonic twists with a killer groove.

[@BensJamTracks]

Thanks Scott! 😊

[@BonkoTheFat]

such a beautiful progression!

[@matthewws5694]

Benjamin. I jam to your tracks everyday on KZbin. I appreciate your talents and efforts. Enjoy the new year!! Love from South Africa.

[@BensJamTracks]

Thank you for your kind words Matthew and Happy New Year to you also!

[@patbreacadh]

OMG, what a beautiful track! Killer bass line. This is fire!!!

[@BensJamTracks]

Thank you Pat!

[@Argentarius11]

Improvisation Guide to Jazz Fusion Jam Track in D minor - BJT #57 Dm9 - - - | Bm7b5(add 11) - - - | Bbmaj7 - - - | A7#5 - - - | Gmaj9 - - - | Fmaj9 - - - | Em9 - - - | Eb9 - - - | Dm9 - - - | Bm7b5(add 11) - - - | Bbmaj7 - - - | A7#5 - - - | Gmaj9 - - - | Fmaj9 - - - | Em9 - - - | Eb9 - - - | Bbmaj7 - - - | A7#5 - - - | Dm9 - - - | G13 - - - | Gm7 - - - | Gm9/C - - - | Ebmaj9 - - - | - - - - :|| These jams represent the pinnacle for both jam tracks and fusion in the 2020’s. Ben writes tracks that a good composer could turn into real tunes, not unusual chords thrown together like some Fusion jam tracks. Gone are the glory days of Fusion; as an artform, Fusion still has much to offer: a synthesis of Rock and Jazz utilizing Jazz melodic and harmonic concepts. In this track, simple Rock will not work. Blowing over these changes with D Dorian or Pentatonic scales will sound amateurish and miss the real harmonic significance of these cool changes. To keep things simple, some of these chords imply a simple Pentatonic scale that will work. Gmaj9 could be G A B D F#, Eb 9 could be Eb, F G Bb D Flat. If approach tones are used (notes a half step below), a solo will not sound boring or predictable. However, a musician can do better than that. Measures 1 & 2 suggest a Dorian or Natural minor scale. Bm7b5(add 11) suggests an interesting Pentatonic: B D F G A. John Coltrane used something similar. Measure 3. A Dorian scale can’t be used. A D Natural minor scale (notes of F major scale) would work. Measure 4 suggests a number of possibilities: functioning as the Dominate chord, A whole tone scale or D Melodic Minor work. The A Superlocrian scale (notes of the Bb Melodic Minor) works great; however, it’s sharp 4th, D#/Eb, clashes to many listeners and can be left out (A Bb C C# F G). The sharp 4th has to be handled carefully in Fusion. The note E can be added. Measure 5 shows Ben’s creativity with Fusion. A GMaj9 is used which has an F# that contrasts the F natural of the D Dorian Scale. The G Major scale works well. Measure 6 is in contrast to both measure 5 and 7. The safest course would be to use the F Mixolydian (F major with a natural b). This would give continuity to note B used in measures 5 and 7. Measure 6 again shows Fusion creativity that you don’t usually find in Straight Ahead Jazz or Rock, major 7thor 9th chords a whole step apart (one of Ben’s favorite devices, a jewel of Fusion: contrasting Major 7th or 9th chords in ways you would not expect them). Measure 7. Being Fusion, Ben uses a minor 9th when Jazz would use an E half diminished chord, Rock probably a G minor chord. This brings the intrigue of the unexpected or unusual, Fusion’s hallmark. I prefer the E Dorian to contrast the previous FMaj9 and the following Eb Maj9. E natural could be used. Measure 8 has an Eb9 substituting for the A7 chord (known as Tritone substitution in Jazz). It would be mistake to play a simple Eb Mixolydian: The Ab would clash with Dm9 that follows. Here the Bb melodic minor scale moving from Eb to Eb works (Eb F G A Bb C Db/C#). Last measure. Here there is an Ebmaj9 substituting for an A7. Bb major scales works better as it has an A natural brings stronger harmonic/melodic push to the Dm9 that follows, the tonic or main chord. There are all sorts of scales and synthetic scales that can be made to work. The choices here will work to most people most of the time with this tune. These will keep you out of trouble. It is then the improvisers job to make wrong notes or exotic scales resolve or work.

[@BensJamTracks]

Thanks for the breakdown Lloyd and kind words - a very in depth analysis! 🔥🙏

[@jorgesotolopez204]

In the measure 6, Fmaj9... You recomend to use F mixolydian, with the purpouse to maintain the B natural. woudn't it be F lydian? i am confused about it

[@hummarstraful]

love this

[@midiman5177]

Sounding great.

[@BensJamTracks]

Thank you!

[@ea-guitar1170]

Really good ! Thanks.

[@BensJamTracks]

Thank you Eric!

[@havalandir]

Extraordinary

[@BensJamTracks]

Thank you!! 🙏

[@nelsonedgardocortezmoran9998]

Exelent

[@885909431427]

Great jamming material dude! Thanks.. Anyone want to share any interesting ways of improv over these sequences?

[@el_kiks9694]

Resolving the e9 into the eflat9 is so satisfying to hear.

[@krishiskulzee]

Holy Shit. Damn good Track. Is it possible for me, to use this Track for making Streetmusic? It's a perfect Fingerwarm up... Pleeeease. I'm not in your Area. I´m in Berlin

[@danaeverhart6487]

Hey man if anyone ask what you've been up to lately, tell em your name, 👉🏻BEN-JAMIN! 👈🏻. ✌🏻️😉✌🏻Peace

[@BensJamTracks]

Thanks Dana! :)

[@dalefrary]

Dana Everhart You better get your coat!

[@jameslay240]

Not sure how to play over these changes I'm confused

[@885909431427]

Start by playing the arpeggios in one position and take it from there with scales/pentatonics..

[@scottfuscomusic]

The easiest approach is to play the whole thing in Dm, this works fine. If you want to cover the changes a bit more, play D dorian over Bm7b5(add 11) and Gmaj9 and D phrygian over Eb9 and Ebmaj9.