What Nobody Tells You About Playing Jazz

[@pickinstone]

Pretty good video. Can I add one to the list? Stop practicing everything rubato. Jazz occurs in time and understanding jazz time is essential to swinging--from swing to bebop to beyond. I used to practice a lot of tunes and progressions rubato--because I wanted to get those chord tones and scales down pat. What I DIDN'T realize was that I was neglecting my sense of harmonic rhythm. Harmony operates in time, and the way the chords change in relation to the measures allows you to hear the tune. You start to internalize a tune when you can hear the harmonic rhythm away from your instrument. That also means that you can't lean on band in a box or whatever play along. Learn to play through an entire tune by yourself--simplify what you need to get through the tune. Playing the melody in time will do you better than practicing all those advanced substitutions--especially if you can't get through the tune in time on your own. One more to the list. Harmony and melody are the raw materials. Rhythm is how you put all those materials together to make music. Many of us completely ignore rhythm in our practice--listening is part of it, but you gotta play it to internalize it. Without rhythm, there is no music. I repeat, without RHYTHM--there is NO music. So talk to a bassist or a drummer, or both. Jazz time is three dimensional (RIP Mike Longo) and involves more than even and odd subdivisions of the beat. Jazz time is the result of different poly rhythms layered on top of each other--triplets, quarter note triplets, half not triplets. Then you need to think of how you group your notes into phrases. So yeah, everything comes down to developing your sense of time. Without a strong time conception, everything else falls flat. In other words, it's about TIME we start talking about TIME and treating jazz time and rhythm seriously in all of jazz education.

[@kwimms]

Stop practising Jazz all together.... it sucks and all sounds the same. And 3000 students graduate every year playing the same stupid songs over and over and competing against each other. Dum du dum dum dum....

[@alfredbellanti3755]

Timing is one of my bugbears. i do ok until the music becomes more complex then my mind gets caught up trying to figure it out and my timing falls away.

[@pickinstone]

@@alfredbellanti3755 same here--I think that's because most of us were taught or self-taught that we need to play the right scales to access the right notes ALL the TIME. So much so that we sacrifice playing in time to hit those notes and harmonies. If you stop and think... sacrificing time for notes sounds a bit counter-intuitive, no? You lose the time, then EVERYTHING sounds bad--subjective or not.

[@brandex2011]

Oddly enough, I've gone just the other way. I always played everything in time, and now, I'm starting to take everything apart by playing rubato, and I'm learning a lot that I missed when playing in time. I'm even redoing tunes I've played forever, and it's amazing how completely different they are when played rubato. Because I'm a huge fan of Eddy Palermo, and I hear music the way he plays it, I usually end up playing in time between opening and closing choruses of rubato, even though Eddy rarely (if ever) plays anything rubato. Of course, there's Pasquale Grasso, but his little fingers are the length of my forearm, so... Anyway, development is a personal process, and everyone has their own method. But, I hear you. I think a lot of learning rhythm comes from listening to the headliners play - which I've been doing from early childhood.

[@exitmusic88]

Popular music written in the last 50-75 years does not have the same depth and playability in the jazz style that show tunes and ballads that were popular in the first half of the 20th century do. A pop song with and A B A B C form with minimal, repeating chord changes is not as exciting to play over as a blues or an A A B A song with thoughtful chord changes, lyrics, and melody. The dominance of rock music from the 50s through the millennium in popular music does not lend itself well to the jazz style.

[@lloydenglishguitarstudio6331]

Been a career musician for about 45 years and about 25 years ago in my teaching I started focusing on analyzing and memorizing standards as core curriculum. Your advice is bang on and applies to all genres and the results are empirical.

[@OmniphonProductions]

The two most valuable pieces of advice I've received: 1. Learn songs! The more melodies you can play, the more _pieces_ of songs you can sew together into an endless combination of _patchwork solos._ (Ella Fitzegerald once sang a long scat solo, containing snippets from over 30 Jazz Standards!) Plus, by learning the slides, accidentals, and other technical skills and subtleties that most popular melodies employ, the more likely you are to eventually have, "...the right tool for the job," at any given moment. 2. Spend 15 minutes per day practicing what you suck at, followed by 5 minutes per day reviewing what you're already good at. The first 15 will grind you down; the last 5 will lift you back up.

[@sonniquickpianoimprov]

@@OmniphonProductions I never get enough of practicing or working on music I'm creating. But usually after 3 hrs my back is in too much pain. Playing my piano is what I love to do the most. I'm no longer young. I have only so much time left and I want to get out of me as much as I can.

[@OmniphonProductions]

@@sonniquickpianoimprov I can definitely understand that, and if you're playing purely for the joy of making music and creating _your_ art, I'd say you have the right approach. The advice I listed above is about the process of _building_ the skill set necessary to be _able_ to do what you're doing now. Play on, my friend...and savor it!

[@rickeguitar9086]

In my opinion, this is the most honest advice I have heard about learning jazz. And it will be revisited in those future moments while getting frustrated with the length of time it takes to accomplish a goal to remind myself that the experience of learning Jazz is more about the journey and not so much about the destination. Many Jazz artists I have admired often still thought of themselves as students still. As they too continue to stretch their boundaries to grow their skills and playability. Cheers!

[@HaErBeSo]

Just limit your goals, be realistic and you’ll be fine.

[@sonniquickpianoimprov]

@@rickeguitar9086 We never stop learning. I have often heard and read articles telling older people to do things like word puzzles to keep their mind sharp and in a learning mode. Age does not restrict a musician, if they keep playing or creating. Physical aspects may inhibit you, but if you keep going you always are able to learn and grow. Even those with dementia or Alzheimer's come out of their shell when they hear music that connects with their memories. Music has its own path in the brain.

[@matth6932]

As you have mentioned...learning many jazz standards, for me was key. The more standards I have under my belt, the more confident feel; taking the heads and blowing solos over them. Quick meditation before playing helps. Yes...eventually you think differently, feel differently and perform better. I appreciate your advice over the years. On my way to 50 standards off book. Thanks Brent.

[@Learnjazzstandards]

You're welcome!

[@KenTeel]

Now that you've done that: Write some jazz tunes.

[@jamesnotsmith1465]

Exceptional video. I am a senior citizen learning to play violin. My instructor is a jazz musician. I've been taking lessons for 5 years and can see the elements you discuss in her lessons.

[@mileswhite4329]

One of the best talks I have heard you give. I pretty much have this talk on rewind. Thanks.

[@Learnjazzstandards]

Awesome! Thanks

[@mrpossibilities]

These are all good points but in my opinion, you've missed a crucial point that no one talks about: You must work on your rhythm. Rhythm is more important than good notes or complex harmony. A lick with wrong notes but good rhythm will always be better than a lick with all the right notes but sloppy rhythm. Jazz students must devote a lot of time learning rhythmic phrases, learning to play while counting out loud, and becoming comfortable starting and ending phrases on any part of the beat (both down and up beats). This, to me, is about the most important thing that nobody talks about. Harmony is important, but it will always be secondary, priority-wise, to rhythm.

[@kirstenfruehling2868]

I totally agree. I think they applies to all styles of music as well. A song played with simple chords but good rhythm is much nicer than a complicated chord progression with basic rhythm

[@jarkkoriihimäkimusic]

Thank you so much for this video! I’m a classically trained pianist, most of this stuff applies to that as well. I’ve loved jazz since my teens, but my mindset about learning it was so wrong for many many years. I was just so frustrated, cause my friends played it so much better. Well DUH, some of them are now world class players, who had already back then put the 7-8 years (the estimation is from one of them😊) into learning the chops. I might add to the concept of having fun another nuance, which is enjoying the hardness of it. Not to sound too David Goggins, but once you start loving the grinding, you can better at anything in your life. I just turned 50, and I feel like I’m studying again. In classical music I know exactly, what to do. But also my jazz playing is actually starting to sound partially even good😅♥ Keep up the good work!

[@davidwilliams7552]

For me, being fortunate to learn jazz improvisation on sax when young, this skill transfers over so well to being able to just get up and play with anyone. I can't memorise standards but I can sight read very well. Best feeling is when you just forget about everything and play.

[@derrylgabel]

Amen brother! I've been playing for 40 years and teaching for over 30. This is what I tell all my students. You hit the nail on the head. Great video my man!

[@Learnjazzstandards]

Thank you!

[@derrylgabel]

@@Learnjazzstandards My pleasure! You have a great channel. Keep up the good work!

[@HaErBeSo]

Sorry guys, but teachers complimenting each other isn’t by definition benificial to learners.

[@michaelcollins9698]

I took a vacation for a month and practiced several hours everyday. My playing improved a great deal. Being a member of learn jazz standards has been an essential component in my growth as a jazz guitarist. I agree that learning to play melodies by ear is an essential skill but I also think I benefit a great deal by learning to sight read notation and tab.

[@Learnjazzstandards]

Awesome! Thank you for sharing.

[@davidkline1355]

Listening to jazz is very important. There are many many variables to becoming a good jazz musician. That's a blessing and a curse. You never run out of things to learn but as you say, it's not easy to get a good command of jazz. Tone, technique, patterns, phrasing, timing. Improvisation is the best way I know to fully express myself. So many ways to play a single chord and I won't know what I will play until I am close to reaching that specific chord.

[@Don2Rich]

The one thing every teacher online skips about learning jazz is 1. It don't mean a thing if it ain't got that swing. Take a simple melody that you learned as a beginner like twinkle little star and learn how to swing and jazz that tune up. Do this with every tune you know in all keys. 2. Lean the blues. Every tune you can find and then in all keys. 3. Learn your ii V7 I 's in all keys on your instrument and a chordal instrument. 4. Lean rythm changes in all keys. Take it slow.. 5. Now you can absorb online instructions.

[@Opape1Opape]

I like your suggestion. Twinkle twinkle little star can be flipped upside down, turned inside out. Happy birthday can be done the same, using dim V7 13th, 9 etc. play in all 12 keys. Thank you.

[@ЛешаЧупрыкин]

Even in C# key? Many instruments not very suitable for transposing.

[@quimcastilla]

Well, play in all keys is a good practice, but you just need some common keys used in the standards that you are playin. And people sometimes is quite lazy, in the way "oh, man, I use to play it in G, don't change the key!". The funniest is when you play guitar and you accompany a singer: you have to be prepared to change the key according to the vocalist.

[@davidwilliams7552]

Well at least guitar one can capo!​@quimcastilla

[@kwimms]

Jazz is crap music... all sounds the same... big deal.

[@kenseidman409]

Thank you for being real about the long term nature of learning to play jazz. I’m sure someone said this or maybe I missed this but it’s really important to play with others. It’s magical how one responds and exceeds expectations in response to the sound and camaraderie of other musicians and the “pressure” of the moment.

[@bobsteiner9209]

As a music teacher and jazz fan myself, I heartily agree with your comments. Jazz has a history, and the best musicians are familiar with with that history including hundreds or thousands of songs and jazz tunes. I would be cautious about improvising too freely, however. The chord changes are there for a reason. And a good solo tells a story.

[@jamesnotsmith1465]

I agree. Playing within the chord changes is important. When I was starting out, understanding what notes are 'available' for use was (and continues to be) very difficult. Learning the circle of fifths helped me as does practicing 1-3-5-7s over a backing track. I also agree that an improv needs to tell a story; flow and go somewhere. I try to work in some call-and-response, but also try to work in a ghost of the head to keep true to the melody of the song.

[@coltonmykael]

I love the comparison to learning a language. I’ve been learning Spanish for 5 months and a lot of the things I do to improve at my instrument I’ve converted into learning languages

[@burtmann3921]

your lesson totally applies to ALL genres of music. I would also encourage that non horn players learn to sing or hum melodies. A great jazz musician (M Miller)made a point to mention that he used to learn bass lines and solo ideas by singing them. If you can sing it, you can play it. Ok some things are tougher than others but I think you all get the gist here. Long live music and the individuals who play/perform it. God bless

[@donkkong5551]

Ok. I am only a minute into this video and I cant agree more about the learning tunes aspect and learning the theory behind the tunes. So inciteful I love this, Number 7 is so important specially when playing amungst peers and or local players who are better, For whatever reason being validated or excepted by our peers is necessary ? I really hate playing gigs and then seeing a local competitive guitarist show up sometimes will take my confidence down a notch.. This was an excellent watch... Thank You!

[@BruceWilsonVideo]

Another great message, Brent! “Having fun” when practicing happens when we set goals and notice ourselves achieving them. Goals can be big and long term, but it’s the small goals that we can accomplish in a practice session or two. See Tom Heaney’s great book, “First, Learn to Practice.” Keep up the great work, Brent!😊

[@kozneb]

Thanks for the tip, just found it on Kindle! ;)

[@sat1241]

The problem with the message here is that playing Jazz standards is nice but these songs are around 75 or more years old. I think a better plan is learn a few standards and then decide the direction you want to go in, traditional, fusion, smooth jazz, avant garde, etc. And also realize your favorite jazz artists played standards that may have been a decade or two older and sometimes popular songs or Broadway of their own time period, example John Coltrane, My Favorite Things. That should always be kept in mind, learn some of the old standards and then apply some of the same interpretation of songs actually may written in your own lifetime or a few decades earlier. For instance, Fragile by Sting, Strassbourg St. Denis, (Roy Hargrove) , Paranoid Android by Radiohead, Beatles songs (see Brad Mehldau), Stevie Wonder songs, Phil Collins Big Band - In The Air Tonight, Prince's "Thieves in the Temple, Nirvana Comes as you Are, Peter Gabriel's mercy street, The possibilities are endless, Even if you go into the top 200 songs on the pop charts right now there will be a few good melodies here and there, even if you don't like the style, you can take that and play it another way, add some harmony if necessary, swing the rhythm Unless you want stay in safe "Jazz" zone, 40s- 50s songs that have been done a billion times(although I still love listening the old standards as well) Think about this. How did a standard become a standard? A lot of these songs jazz musicians took from popular songs of the day or Broadway or movie songs. More people should be taught how to turn a pop song into jazz, how to alter some of the chords, choose a rhythmic approach from jazz. How to turn it into more sophisticated music thats good to improvise over, or do a modal version and maybe add a modulation. This gives the new generation who find jazz incomprehensible, something to draw them in and catch some of their attention

[@rupertlay1887]

You miss the point on two fronts: 1. he did say "playing Jazz" NOT Fusion or anything else, and 2. The age of a composition doesn't matter, Inner Urge by Joe Henderson sounds new today although recorded more than 50 years ago, it is how you play a composition. Have you heard Three Blind Mice by Art Blakey and the Jazz Messengers??

[@sat1241]

@@rupertlay1887 Jazz in 2024 should do what Jazz did in the 50s and 60s, take popular songs of the day and do jazz versions of them and doing is not instantly good music, it has to be done week like anything else. As for Inner Urge name an original non-pop jazz composition of the past 20 years that various jazz artists cover,

[@deltavistastudio124]

Private music teacher for 30+ years. You nailed it! I believe this applies to learning anything new. Thanks.

[@Learnjazzstandards]

I couldn't agree more!

[@liendewilde3247]

Very, very helpful to hear all this honest and usefull info! Especially that it takes a lot of patience to grow musically and also the impro-tip 'let go' are eye-opening! Thanks a lot! I'm very motivated to keep going now!

[@Learnjazzstandards]

Glad it was helpful!

[@DoItYourselfandSave]

Thank you for perhaps one of the most realistic and honest videos I've come across about learning jazz (or learning how to play any music, for that matter). It's quite common to see videos that promise "get great at guitar / piano / theory / rock / pop / blah blah blah in only ten days!" (or whatever). This video is the antidote to the unrealistic ones that promise the moon, without being negative.

[@davidhyatt7550]

Great advice. As a language teacher of over 25 years, I was struck by various parallels of advice I've given.

[@albertoguerrero007]

Awesome advice and great observations.

[@Learnjazzstandards]

Thank you!

[@JameySterrett]

I taught Jazz for almost ten years, and I’ve been playing for a lot longer. I 1,000% agree with this post. Too right! I really like how you incorporate extramusical advice. That’s really helpful to students who struggle. Thank you for your channel and its content!

[@Learnjazzstandards]

Glad it's helpful!

[@lebeelouis1938]

Super video. I completely agree with all the points mentioned. For me, there’s one thing I resonate with above all, and that’s the idea of changing one’s behavior and attitude toward the instrument. As I approach my forties, I’ve really shifted my mindset in my personal life. But it wasn’t just a musical shift-it was more about self-awareness, especially through meditation. Meditation taught me how to observe myself, to understand where I’m weaker, and to be realistic about myself-what I can do and what I can’t do. It’s about adopting a kind of empathetic attitude toward yourself, not being too hard on yourself. Like, “I can do this, I can’t do that, and that’s okay.” Truly accepting the level you’re at-this shift in attitude has been crucial. For me, meditation is what led me to this realization because it really helps you stay aware of where you are. It stops you from striving for some ideal or being too harsh on yourself and instead allows you to have a realistic view of the present moment. This change has not only made me a better musician but has also significantly improved how I train and practice.

[@belfiglioa]

Been teaching piano for over 4 decades, and jazz for a good junk of that. This is an excellent video, and it mirrors many of the things I talk about with my students. Great work!

[@Learnjazzstandards]

Wow, thanks!

[@rockstarjazzcat]

All great advice! For guitarists I'll add the recommendation of working on a bunch of melodies before tackling chords when learning songs. Amazing how many blazing soloists/compers don't swing on heads. Cheers, Daniel

[@Paul-tk1hg]

Everything that you just described can be applied to any genre of music. I’m 73 now and have been playing since age 6 and saw myself in every stage you talked about.

[@Learnjazzstandards]

Cool!

[@brucejeric6701]

I have to many FAVORITE INSTRUCTORS!!! Including you - I use your song learning procedures for years. I use jazz piano school( Brenden Lowe) I’m Elite member. I use Kent Hewitt ( have his books) I use piano with Jonny and David Manuel ( blues studies right now) and Arthur Migliazza for boogie Woogie ( great study book) and mdecks( I’m a monthly paying member) and Julian Bradley and Christian Fuchs to a lesser degree. I’ve bought material from all and a few with members, lifetime and monthly. There’s more I’m missing in this email like open studios and some others I can’t think of without my workbooks. I keep a daily practice schedule. I’m 79 so I feel like I’m running out of time to become as good as I’d like at improvising over tunes I know and from charts. I started studying jazz in college in 1970, played out with bands until 1985. Quit! Turned into top 40 groups to make money 😢hated it!! Worked logging until retirement. Then 10 years ago in 2014 I got inspired again and have been going strong morning to night practicing solo piano. Never jam anymore but practice group playing also like my comping technique etc. Only want to relearn one Debussy piece Claire de Lune before I die. And want to sound better on my improvised choruses after I play the head in solo arrangement and then repeat that again after improvising. Thank you for all you’ve given me!! Bruce You can see what I’ve bought from you. I study them.

[@Learnjazzstandards]

Thank you so much for sharing your incredible journey. All the best!

[@Davitor1]

What help me the most in improving in jazz was recording myself. This helps me hear where I’m rhythmically off specially in syncopating.

[@steveabshire9930]

Excellent video. I appreciate your explanation of all 7 points....makes lots of sense. Particularly step 7. I could't agree more about letting go and allowing your mind, your ear and your heart the freedom to meld and carry your ideas to another level. Well done.

[@Learnjazzstandards]

Thank you so much! It's great to hear those points resonated with you.

[@queretanorubio]

Followed your channel for quite a while now. I think a key element in learning anything is, the gap method. Probably more tactical in this case than strategic. Thanks for all the many hours you put into this.

[@DARKLYLIT]

Great vid man. Learning to face and manage one's own anxiety and IMPATIENCE seems to be the real divide between those who persevere and those who do not. It's so easy to just stick to what comes easily that this often prevents us from being able to persevere when things do NOT come easily. It's taken me over 40 years to begin to get a grip on the simple idea that consistent, daily practice will render results. Keep pushing through and finding Joy amidst the struggle! Cheers✌

[@johnredfield6668]

Outstanding video. I really agree with your last point (point 7). Just let the music flow on the bandstand, not try to overthink it, or it will sound weird, and lead to regret that you didn't play all the licks you were hoping to. I love Charlie Parker's quote: "You've got to learn your instrument. Then, you practice, practice, practice. And then, when you finally get up there on the bandstand, forget all that and just wail."

[@fretworks9692]

Absolutely. I struggle with repertoire, and always have, as I don't memorize things well due to raging ADHD. My teachers had amazing repertoire, being able to play literally thousands of songs in any key from memory, on the spot. A pianist friend of mine actually tested his teacher at a gig. His teacher had a little black book of nothing but song titles, nothing else, and he handed to my friend at a solo piano gig, and said, you can pick the songs for the whole gig, and the key. So my friend was like, Ok, play me Stella by Starlight in D flat. And his teacher did it no problem. Then East of the Sun, West of the Moon in F# or whatever, for the whole gig. And his teacher nailed it all. My bass teacher was the same way. I never got past 50-100 standards in maybe three keys each. But that's the deal. Learn the repertoire, no exceptions.

[@andrewsmedley-brown7463]

Fantastic! Telling it as it is! Thanks as always for everything along the way. We are forever learning, in life as in music and there is no end of the curve in sight-as far as I can see! Long may it and the good teaching and learning continue!! Andy.

[@cf23figueroa23]

Brent, great and honest presentation. There are way too many people out there selling "easy way to Improv", "Fast Track to Improv", and it is not easy or fast. Keep up the good work!

[@andreimclive]

Absolutely FANTASTIC video.

[@Learnjazzstandards]

Thank you! Cheers!

[@sonniquickpianoimprov]

I like what you're saying. I teach piano. I'm not a jazz pianist, but it is something I'd like to do. What you say can be applied to all styles of playing. I'm an improv player and I teach that, along with reading music from the first lesson, even children, so they don't develop a fear of making a mistake. I also work on teaching them the importance of muscle memory and listening to where the music is going. I teach recovery from making a mistake to keep on playing like the mistake was intentional.Make the same mistake twice, close together. I am 70. I started playing when I was 7. It was hard to find a teacher toteach me what I wanted to know - because they didn't know how themselves! My playing continues to change and grow. Age. Is not a factor. Improvising I didnt seriously apply until about 15 years ago, when I stopped singing. Now my playing had to tell the complete story, not just accompanying myself. If I didn't know music theory it would have been harder. I see a lot of self taught keyboard players who don't know key sigs and have lousy performance skills, who are clueless about how bad their playing is, because of their lack of having anyone watching how they play. There is so much more I could say. I will save this video and pass it on when I can.

[@Learnjazzstandards]

Thank you!

[@saxmanzzz]

A very helpful and inspirational video. I shall watch this again to remind myself of what I need to do to improve and to enjoy my playing. Thanks

[@RichardMatoon-sj4sy]

This is great information! Thank you

[@sidneylutara9786]

These are golden advices💰💰💰 Thx for making this video. 🙏🏼

[@irajames8113]

Im sixty seven years old started playing piano four years ago. Have been a jazz head all my life, thanks to my father who had all the Blue Note, Verve, etc., artist music in the house while growing up. My journey learning piano has been and is difficult, but i thoroughly enjoy the process of theory and how music works, because i love the music! One thing i am always aware of is how efficiently (or not), is my practice; how well am i learning. I try to be concious of if it takes me too long to rememer a voicing or a tri tone sub, it must mean i havent internalyzed it just yet. Also, i believe of a person really knows something well, then you dont have to remember it, so to speak; because you KNOW it and UNDERSTAND it! I totally agree that the standards are the key, all the theory and concepts are in the music, plus i can hear when im right or wrong, because i know the music from years of listwning and appreciating it' beauty. Sometimes i think that learning to play jazz isnt so "dufficult", per se, but maybe more accurately difficult because there is so much information in it to learn! That said, the deeper i get into it, i see all of it is so interelated, that one concept overlaps into another and another. I love the process of the theory, i think it' fascinating, eventhough laborious. For an old man like me that has enjoyed buying and listening to the greats all my life, learning this music is a great hobby. I find myself constantly walking around throughout the day with some musical concept playing in my head; soe musical question im trying to answer. My learning is slow, but im familiar with concepts now that four years ago seemed like trying to understand hyroglphics!

[@Learnjazzstandards]

Thanks for sharing your journey, it's inspiring!

[@innerstream]

appreciate all these tips and kind reminders like this help build trust in the process and help me get out of my own way thank you!

[@fabiosky4368]

thanks for this suggestions- in my opinion First thing is LISTENING tons of jazz. understanding the sounds, the TONE,also of other instruments. in this way we can understand HOW LISTENING THE STRUCTURE OF the tracks .the change of tonalities and rhythms,in and out of chords harmonies solos, sweeps arpeggios and so on. Then play and copy your favorites .its a life Task. ciao from italy.

[@9344music5]

I think you nailed it my friend. You are being honest when you talk about Jazz as a "Language" for those learning a spoken language for example, you learn the parts of speech and grammer etc, but eventually you have to apply it as "SPEAK" and when you do, you have to let go and try to let the things you learned flow through. But there are wonderful examples of great speakers who did NOT learn by studying the language down to it's essential parts. Women for example, they are great at communicating and have a knack for picking up when and how to use the words in order to speak. Bottom line, if you don't have good ears, then you MUST try and learn via studying the theory, otherwise you will never get it. The theory answers a lot of questions about the mechanics of the language. Having good ears means having an instinctive understanding of how the language comes together. But, if you have good ears, and can learn theory, you can go so much further. As a musician (trumpet player) I have seen that many musicians could not play a not if it were not on paper in front of them. You said "we must learn the standards first" and that is absolutely correct. Music came before theory in the form of wonderful sounds to entertain us. Theory came to explain music and improve it's evolution. Thanks for what you do. I have been using your "Jazz Standards" to practice for many years. Looks like I have to become a member now to keep enjoying that, but it is worth it.

[@Learnjazzstandards]

I couldn't agree more - thanks for sharing your experience!

[@bbowjazz]

Very excellent points that have definitely been my experience over the past 35 years or so as a student of classical and jazz guitar. In addition, how about this and I’m speaking in the context of the guitar although it can be applied variously to other instruments. There are more or less efficient ways to learn jazz standards on a complex instrument like guitar. One really needs a good system of fingerboard harmony … a technical framework for chords, arpeggios and the scales they derive from. To navigate all of this, an efficient way of organizing fingerings and understanding guide tone voice leading through chord progressions has for me become foundational.

[@g-man3093]

took me quite awhile to figure this out but eventually got to it. and thanks to this video for confirming it. songs, and input. especially the latter, listening to a song 40-50 times. songs, because if you want to begin sitting in. shame that high school band leaders never teach this.

[@blow-by-blowtrumpet]

Hi Brent. You were literally the first jazz educator I discovered when I started learning jazz improv 7 years ago. I'm now out playing sessions every month and really enjoying it. I've even hit total flow state a few times and felt like I couldn't do anything wrong. I'm chasing that feeling every time now. Every bit of advice you have given has been spot on. Thank you.

[@Learnjazzstandards]

Wow, thank you so much for sharing this! Wishing you even more great moments and growth in your jazz journey.

[@blow-by-blowtrumpet]

@@Learnjazzstandards Thanks man. Next session tomorrow. I'm planning on playing Bye Bye Blackbird and Lady Bird. Fingers crossed.

[@DougYeager]

The flow is magic

[@blow-by-blowtrumpet]

@@DougYeager Indeed it is. Everything felt easy. It was like time had slowed down. Wish I knew how to recreate it on demand.

[@trevor807]

Coming from metal/djent, im used to composing everything ahead of time, much more like classical music. Practicing was spending time understanding sounds and making sure my fingers could articulate each composed note with as much feeling as possible. But it wasnt improvising from scratch, it was hitting notes until i found the ones i wanted, then spending all my time playing those exact same notes well. I've found that, due to the 7th point about letting yourself go completely, I need to change what practice means to me. I need to drill exercises to the point my muscle memory has it, then move on to a new exercise, changing a lot more and not just playing a song. Then improvising is letting the muscle memory take over from the variety of exercises while listening. Practicing improvisation is recording it, then listening back and finding things you want to add/change and making an exercise for that and back to the muscle memory. It feels much more like sports that way honestly. You barely practice the actual game. Any game practice is more like comfirming the exercises are working (scrimmage) without the stakes of a real game, or just messing around and having fun. Then you take all that and do your best when in the game trusting your exercises (or on stage). The difficulty as a self-taught practitioner is making sure you have the right exercises for your level that push you toward the next level. This is a huge pain to figure out for two reasons: 1) to make sure the exercise is good 2) make sure you're honestly evaluating your level, its probably a lot lower than you think (i know mine is)

[@daquetreed5522]

My biggest regret is not playing more gospel, rnb, and pop. At the end of the day seeing people get up and dance while you play as opposed to just sitting in a chair is a great feeling. I played at my friends wedding last June and she said she saw both her parents and aunt and uncle dance together for the first time. She’s 43 and her parents have been together for decades. I played Dave Koz, Grover Washington, classic Rnb songs like Hear and Now. It was nice to see people actually moving to the music I was playing. I still consider Michael Brecker one of the greatest but has jazz stuff later in life doesn’t move me anymore. It’s like eh… yeah that’s a lot of notes and it’s clean. But when I listen to his Brecker Bros stuff and his other pop and fusion stuff I’m like now we’re talkin.

[@clayton56tube]

I think you have a point. I like to work on jazz standards like doing a puzzle, but when I want to write, it's in another style that's more dramatic and meaningful to me.

[@brandex2011]

The most important thing that "Nobody Tells You About Playing Jazz" is there are very few jazz hubs left in America, and those that still exist are inundated with players - good ones - so clubs don't pay much because there's no scarcity of players who will work for next to nothing (it's a competition and a bidding war), and clubs outside those cultural centers don't even know what Jazz is. Also, do your best to get paid up front. Clubs are notorious for stiffing musicians after the gig. They'll pay their wait staff and kitchen staff and even valets and doormen, but they'll wriggle their way out of paying musicians if they can. I think the term "playing music" makes them believe you are "playing" - as in recess. It's awkward to say, "I'm a guitar worker." On the other hand, if someone asks, "Do you play?" I like to say, "No, I work to make it sound like I'm 'playing'." Oh well, that's my 2¢ - which is, of course, worthless. Someone told me long ago, "If you played rock, you'd be rich!" Unfortunately, I've wanted to play only Jazz since I was a little kid, so I'm in the wrong genre for the times and I can't help it. There's nothing I can or would do to change it. If you're a Jazzer, you know what I mean.

[@9344music5]

I know exactly what you mean friend. My Dad was also a trumpet player like i am, but in his era, he always had lot's of gigs. He could play everyday if he wanted to. But as time went by I saw that slowing down even in his era. So by the time I came up, there have been scant places in which to exercise our art form. I hope it turns around at some point. I takes a lifetime of blood sweat and tears to play well as you know.

[@ChromaticHarp]

@@9344music5There are only a handful left even in NYC…

[@jazztrumpet-8246]

That’s why is important to have a contract. There are a lot of jazz hubs, just a handful of musicians sucking it up, not allowing others to eat. In the jazz scene I can not get into a regular toilet paper gig. That’s why I play Latin music. Mostly salsa. Been giggin’ like crazy for 26 years. Jazz???? Not so much.

[@zaidahmad4798]

Thank you Sir . A golden advice

[@gib321]

Great advice. As an "intermediate" player who has been given the opportunity to play with more accomplished musicians on the bandstand, the point about getting comfortable with being uncomfortable resonates with me. You have to be both humble and not too hard on yourself and at the same time thick skinned when things go south on the stand and its down to you.

[@ninomateo]

Excellent advice (I think). I especially like that you have to cultivate a mentality of enjoying the learning. I find that's the hardest thing to do. I.e. getting frustrated because progress is so slow.

[@dannuttle9005]

The part about needing to have fun along the way is my biggest personal discovery. I never would have come as far as I have (which to be clear is not nearly as far as I want) if I didn't get enjoyment and satisfaction out of the hard work.

[@TommyRarivoson]

Very good video thanks!

[@Learnjazzstandards]

Glad you liked it. Thanks!

[@manuelmarches]

I agree with everything! Except that nobody tells it … because I keep saying the exact same thing to my students over and over. This video will help to legitimate my words. Thx.

[@ColasFalon]

A great deal of what you've discussed here can be condensed to: Focused specificity on high ROI behaviors. And the vast majority of mistakes people make involve a deficiency in one or more of those three things (focus, specificity, and good ROI). Additionally, improvisation is a mode of composition (on a compressed time scale). At the early stages of learning, improvisation is perhaps better utilized as a check-in/measurement of development/progress. When it gets treated as an actual product/performance, it can often get in the way of optimal development. And I believe you will recognize that it is because the quality/specificity of "input" is diminished. At different learning/mastery stages, what would you estimate are healthy ratios for "input" and "output?" An example of your answer(s) might be something like: Novice level: 1 hour of free improvisation (output) for every 20 hours of consumption (input). Beginner level, 1 hour of improvisation for every 10 hours of consumption. Intermediate level, 1 hour of improvisation for every 5 hours of consumption. Advanced level, 1 hour of improv for every 3 hours of consumption. Expert level, 1 hour of improv for every 2 hours of consumption. Master level, 1 hour of improv for every one hour of consumption. ^ I am just offering a loose template, not making any strong claims about what I think those ratios should be. (Though I have my suspicions.)

[@DanImbrigiotta]

Great lesson. Applies to all styles.

[@HaErBeSo]

Excellent video. Another hard truth concerns selecting the right teacher. My experience is that most of them are over-ambitious and are not able to limit their teaching to the - possibly - average goals their learners have. When learning jazz is like learning a language, learning to speak it as if I’m a tourist is enough for me. I don’t want to come over as a native speaker, write a novel in another language, truly understand foreign literature etc. In my opinion one should start with finding a teacher who helps deciding which output is satisfying/motivating/realistic. And work that into a selection of input items and, indeed, the practice approach. For me, I play guitar at home, will never be seriously performing with others. So I’m quite happy with chord soloing over a backing track of some standards (which also takes a lot of time to learn). And improvisation is fairly irrelevant to me (unfortunately most jazz teachers/youtubers seem to think that it is an essential skill for everyone). And that includes the learning by ear concept. I can see the benefits, but find it a huge waste of time. I’m quite comfortable with learning songs from paper, there are many excellent transcriptions available. And finally, harmonic analysis etc. doesn’t help me a lot. I can do it, but given the above-mentioned, it doesn’t lead to ‘desirable’ improvement in my playing.

[@Sting39]

perfect speech about jazz World

[@jakobmagnusson5603]

Very Good, thank you!

[@Learnjazzstandards]

My pleasure!

[@rupertlay1887]

Great video, Jazz is a "way of life" that uses sound to communicate.

[@Learnjazzstandards]

Totally agree!

[@urmero67]

one thing no one talks about jazz soloing; if you feel lost or not confident always play with the melody, in other words , think melody at all times. I started doing this with Charlie Parker tunes like Ornithology. move the melody around, deconstruct it , change octaves between phrases, play with the rhythms of those melodies.. in short, play off that melody without sounding like its the melody. I think the Bird Omni book is one of the best tools out there to get into this concept.. you’re welcome

[@mjpslim]

Took years of wasting time not wanting to learn songs by ear … and i never saw any improvement… today everything is sticking and I’m more confident in the practice room and playing with my buddies

[@stephengiles148]

Thank you so much for posting this video…

[@Learnjazzstandards]

My pleasure!

[@davidpinto2197]

Huge kudos for the honesty. Across the entire internet's worth of music educators/instrument educators, NOBODY seems to want to say the truth, which is: it takes time, lots of work and patience. NOBODY wants to say that. Most internet sources for studying music try to make it sound as if "anyone can do it", "you too can play like me (insert megastar monster musician)". Its so disingenuous. The great bass player, Janek Gwizdala, is also produces great books material and KZbin content on jazz improv, and his mantra is "You have to do the work...". Nothing truer could be said about learning music, especially jazz.

[@peterhacopian545]

Thank you so much for this beautiful advice add info God bless you my friend you are a good person and good mentor ..................

[@Learnjazzstandards]

Thanks! I appreciate that.

[@BrianBurgess-jg6bs]

Superb content cheers for posting this- invaluable advice

[@Learnjazzstandards]

Thanks! Glad it was helpful.

[@davidbaise5137]

Thanks for this. Good point! Jazz comes from musicians who played the same songs over and over again, the same way night after night.

[@outinacornfield]

You seem more relaxed here, Brent, less show-biz. Perhaps from all your KZbinr experience. I like it. And thanks for this and all the other lessons.

[@voxwah75]

The last advice is a very usefull one, worth a lot. Allowing yourself to make mistakes and let the music come from a place that's not your ratio. Jimmy Raney had some interesting things to say about this too. The book Effortless Mastery by Kenny Werner talks about this subject in a very clear way, thanks for this video.

[@Tyrell_Corp2019]

"Jazz isn't dead. It just smells funny." - F. Zappa. (That statement is deeper than it seems.)

[@ajfrench806]

I do or don't do all of these. But now, I have a better idea of strategies to break through and improve. Thank you!!!🎵🎵🎵🎵

[@petelangford]

Spot on!

[@_mickmccarthy]

I've recently started getting into playing jazz, off the back of getting into music production over the past 2-3 years, and one of the main things I've learned (which ties into a few of your points here) is that you've got to enjoy the process when it comes to what you're working on/learning. Sure, it's great that we have all these goals we want to attain, but being real, we're not going to stick around to hit those goals a few years into the future if we don't enjoy the day to day effort we're putting in. Keep up the awesome work man!

[@Learnjazzstandards]

Thanks!

[@DaveBluesManFaulkner]

Plenty of good advice there to which I would add a) Start simple e.g minor and major blues particularly in C & F- if you get those together you have a chance of sounding OK. c) Once you've learned a phrase or lick try changing the notes but keep the rhythm and fingering the same so you re-use the muscle memory - this is very powerful at creating new vocabulary. d) Don't think only certain phrases etc can be classed as jazz - any notes in any order can be part of an improvisation - phrases from classical music, blues pop etc It doesn't have to be 100% bebop ;) e) On guitar/piano you spend more time playing chords so spend more time on chord work than soloing so you have the basics sorted. f) Listen to other players - a lot - but only steal licks you really like then change them and remember you can slow down KZbin when you go poaching ;) g) Forget learning Giant Steps it's CR*P anyway and even if someone actually likes playing it most of the audience won't be too keen. It's done more harm than good IMHO. Don't waste your time.. I would add that I have limited abilities but have still found fellow musicians to be encouraging and nothing improves your playing like playing with other musicians.

[@RickMcCargar]

How did the original jazz guitarists learn songs that weren't standards yet?

[@henrikduende]

By learning the pop songs of the day. And that just happened to be standards

[@Shadytube2024]

They heard it in lucid dreams

[@jamesgrant3343]

Listen, learn, create

[@gabrielbotsford791]

Great Stuff! From a saxophone educator.

[@Learnjazzstandards]

That's awesome, thanks for sharing your perspective!

[@user-ih7gc7dt9l]

Interesting video. Thanks 🎉

[@benkatof5852]

This is great advice.

[@Learnjazzstandards]

Thank you!

[@melfhlzahlpd]

Perfectionism is my nemesis!

[@louisthompson1020]

When I let go completly while improvising , I think I sound the best and my audience loves my music more.

[@kenkeyes8148]

Like 90% of blues is the I/IV/V, 90% of jazz in the ii/V/I. I was not made aware of this for a very long time. So learn this first, and then proceed to the more exotic variations.

[@matthewwalsh974]

Eh, just play a bunch of random notes (that sometimes veer in key) with decent rhythm over the top of chords that also feature a bunch of random notes with rhythm. Does the trick for me! I did "misty" for a guitar exam using this method and fluked a high distinction! 😂 the examiner said my phrasing was "exceptional" too. Definitely one of my favourite moments in my life.

[@tecoomexicano]

Number 4: gold

[@projazztips]

G'day mate - point 8, work on your OWN ideas and sound! I hear so many kids that come out of 'jazz college' that just sound like another Coltrane impersonator! There was only one Coltrane, like there was only one Louis Armstrong, Charlier Parker etc - The greatest achievement in music is developing and having your OWN sound! Cheers mate. Great channel

[@Learnjazzstandards]

Thank you for sharing your thoughts!

[@claytronico]

Herb Ellis did a VHS instructional in the 70s or 80s. His advice was to avoid noodling until the work was done. Good advice from a pro, too bad it didn't land. How many pro guitarists do we really need, anyway? For most people like myself, playing is just taking a piss. If it was my job, probably wouldn't enjoy playing & currently I enjoy it very much. The people you work with/for is just or more important as what you do.

[@khalidcabrero6204]

The "practice engine" is probably the toughest to address. You can't rely entirely on your own judgment here, and are bound to persist in the same mistakes. This is probably where a trusted outsider's input is most valuable. I don't care how advanced you think you are, think of resorting to a teacher who can point it out.

[@jongoforth1405]

All really good suggestions. The comment below is spot on, too-play in time. I'd add "practice slowly". Try to avoid learning mistakes. I've told students to play it as slow as they need to play with zero errors. Don't try to speed up too soon. The more error-free repetitions of any technical or phrasing challenge the better. Lock it down. Learn to hear it. Beginners? Don't be afraid to stick close to the melody during your choruses-play variations on the melody. The melody of the song should be the guide, at least in the beginning. Wiggling the fingers and hoping is NOT a winning strategy. And when in doubt, lay out. Listen. The great Zoot Sims, one of the best "ear" players of all time would lay out if a change was bugging him. Come in when the idea happens, don't force a bunch of crap in just because there's a hole. Leave space. Bottom line, tell a little story. Wes Montgomery could play all kinds of stuff, but he was always narrating-not regurgitating lines he'd learned. And don't feel like you have to peel the whole solo every time-if you hear a line you like, grab that! Analyze it-see why it grabbed your ear. See if the rhythm section set it up. Joe Henderson played the piano very, very well-translated that to the tenor. Pick out simple melodies that you already know-"Twinkle, Twinkle". Play it in one key, then start on a different note and play it. Hook your hand up with your ears. And yes, it takes a long time. Coltrane practiced 10-14 hours a day all his life, at least after he left Miles. Ask questions of folks that know more. And yes, you gotta enjoy the process. Because truly great improvisers are never satisfied. But what a gas to work on it! There is no end to learning.

[@Learnjazzstandards]

Awesome advice! It's all about the journey, and it sounds like you've had a great one!

[@sidneylutara9786]

First one. 🎉 Love this channel. ❤

[@pobinr]

Jazz is clever & I like it, but so much is clichéd. Hence why i love Allan Holdsworth. After all as he once said "If you're playing clichés. Or playing something you've played before then you're not improvising"

[@dixjam2258]

Great list. Here are some other, from personal experience, and it applies to music generally, not just jazz. 1. Stop obsessing about technology, equipment, gadgets and sound. 80% of my fellow players spend a lot of money on equipment and time on getting the technology to be perfect in order to sound "right". 2. When it comes to standards, even if you don't sing, learn and immerse yourself in the lyrics. It says a lot about the song as much as the harmony or melody does. 3. Play mostly what you like if possible. There are songs or tunes that I can not stand and I only do them if I am forced by others to do it or if it serves a technical purpose.

[@paulolevisilveirateixeira2903]

All of that is true... Solfege helps those who are in need to develop high vocabulary...🎉

[@Stephenloizos]

great musical truthful philosophy! Another point is appreciating your errors of approach on the road to learning a musical genre of your goals....