Analysing a Jazz Solo - Straight, No Chaser (Davis, Coltrane, Adderley, Garland, Chambers)

If you liked this Jazz Piano Tutorial, please subscribe here:
/ walkthatbass
If you want to learn to play Jazz, check out my website: www.thejazzpia...
Download Musescore here: musescore.org/
Transcriptions here: musescore.com/...
Or download PDFs here -
Head: drive.google.c...
Miles: drive.google.c...
Cannonball: drive.google.c...
Chambers: drive.google.c...
Coltrane: drive.google.c...
Garland: drive.google.c...
In the below video lesson I analyse the 5 solos found in the Jazz Standard Straight, No Chaser on the Miles Davis album Milestones. The soloists are, in order of appearance:
- Cannonball Adderley (Alto Sax);
- Miles Davis (Trumpet);
- John Coltrane (Tenor Sax);
- Red Garland (Piano);
- Paul Chambers (Acoustic Bass).
Analysing these solos should give you an idea of the types of things you should look for when listening to a Jazz solo, and the types of things to include in your own improvisations. It should also help you get acquainted with the various improvisational styles of a number of Jazz Greats. The solos heard on this song are all very typical of each of the musician’s improvisational styles, at a particular point in their career.

[@aceroct4025]

Best teacher in KZbin🙏

[@johnnicholas7420]

I think seeing it in notation helps you appreciate just how radical Coltrane's playing was even in the late '50s.

[@Incolent]

These long solo analysis are great! More please

[@joelrivardguitar]

Thanks, crazy solo! The G harmonic minor at bar 71 of Coltrane is just a standard bebop phrase on the turnaround - F7, D7 / Gmin7, C7 hitting the 3rd and b9 of D7.

[@SimonMSvensson]

More of these! I learn a lot on how to think in jazz when I watch this :)

[@aldebaran.carrasco.martinez]

Great job, as always. Buen trabajo, como siempre.

[@MelodiousThunk]

Curiously, the short chordal solo that Red Garland ends with is a quotation of Miles' entire solo from the 1945 recording of Now's The Time!

[@guitardoppio]

Thank for this lesson, so helpful

[@indigokid83]

Fantastic job!!!Thank you!!!

[@karljoensen]

This must have taken a lot of time. I'm enjoyijg this as I've just learned the melody and am practicing improvising to it

[@MoiAussi18]

Just terrific. One learns so very much from these analyses, and that's just as an interested listener. It's a little bit like what Dr Robert Greenberg does with classical music. I would willingly pay for more of these, and I'm not talking about a nominal amount. How you would collect and how many other people would be interested are possible stumbling blocks, though.

[@composer7325]

Excellent, thank you.

[@giannibonafedi8113]

Thank you!

[@des6964]

45:45 BAAAWWWSSS lol

[@Relatively_Irrelevant]

2:41 giant steps

[@stalbrmusic498]

very nice! please more of that :)

[@kukumuniu5658]

Can you imagine such a video (with a guitarist friend) about Michael Brecker solos?? especially Steps Ahead - Beirut live in Tokyo... Mike Mainieri's solo in that song is also insanely crazy! Anyone who would like to see such a video in the future please, thumbs up under my comment,let's see how many of us are here :D

[@gooliver7]

great job my friend!!!!

[@mr.fabian8471]

EXCELLENT!!!!

[@b00i00d]

wow, I didn't realise there was such a huge difference in the avoid notes of different chord types of the same root! (i.e. here the maj, min and dom of C) I'm also surpised at the number of available tensions for a dominant! Is that cos during the dominant phase we generally allow/build more tension in the piece before returning to root? Cool analysis but why is full screen mode disabled???

[@chrispotter3190]

Yea you see most of those dominant tensions in altered scale

[@kukumuniu5658]

There is no such thing as "avoid" notes,this is myth. Don't avoid "avoid" notes. Tensions = emotions.

[@alberto798]

New mic!!!

[@giovanniroviglione9307]

Do you have the BB version of Coltrane solo for tenor sax?tks

[@ct2034]

Thanks for the amazing video! But .. how do I find theses notes per chord? How do I differentiate between the jazzy and the bad ones? Why is the F# jazzy in CMaj7 and the F in Cm? I mean F always has the same relation to C, right?

[@kzeich]

The note F is only a semitone away from note E so it creates dissonance in C7. It's okay in Cm7 because Cm7 uses note Eb instead of note E. One idea would be play C lydian over C7 because lydian hits note F# instead of note F. To be safe, take your chord tones along with the notes that are a whole step above the chord tones to form a consonant scale. Hope that helps. Much love

[@Batcaveqq]

F is only a semi tone away from the E natural in a Cmaj7 chord and so sounds very dissonant. It’s a whole tone from the Eb in Cmin and doesn’t sound as bad. When you next sit at a piano, try playing E and F together and compare that to playing Eb and F together.

[@numana7785]

@@Batcaveqq ok but like, why isn’t F# considered just as dissonant? Not only does it clash with the 5th, but it’s also a tritone, one of the most dissonant intervals.

[@reynaldopalacios9473]

at 8:45 you explain its motivic, why isn’t this sidestepping? how big is a semi tome?

[@LevyLandTV]

Hey guys, I'm trying to find the recording from a compilation album that features Miles Davis and Coltrane + their best performances/recordings together but this is not the correct version. It sounds very similar to the recording I have heard 100+_ times but with some very major differences so I do not want to use this transcription because it just wouldn't be the same. I really prefer the recording I have but have no Idea where to find the same version online, and I am not opposed to transcribing it myself if necessary. Any leads? Thanks!

[@LevyLandTV]

I think this is the one - www.amazon.com/Best-Miles-Davis-Coltrane-1955-1961/dp/B00005B58V/ref=asc_df_B00005B58V/?tag=hyprod-20&linkCode=df0&hvadid=312021503199&hvpos=1o1&hvnetw=g&hvrand=1257693949964120405&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9024207&hvtargid=pla-524025502268&psc=1

[@LevyLandTV]

I FOUND IT!!! kzbin.info/www/bejne/iJe7hp5peMRrfrs

[@LevyLandTV]

Does anyone have any leads on a transcribed version of this recording? I think the solos on this take are much better tbh

[@alej3795]

W/h dim scale on Dominant ? (Maj7 ., no 3rd , no b7)?

[@jacksonelmore6227]

Analyze an Albert Ayler solo

[@christianmasri4324]

Bonjour Bonjour

[@nadir6661]

what ever happen 2 the drums...?

[@nhklog674]

Lifeless solo

[@gooliver7]

great job my friend!!!!