LESSON 1: The Maj7b5 Chord Echo Game – Part 1 of 2

In this video lesson, I introduce you to the maj7b5 chord structure in the form of an echo game. This is one of my favorite chord structures. It has a fresh, clean sound because of the intervals created by the flatted fifth.

I first became aware of the structure when listening to Joe Henderson, but I’ve also heard many jazz pianists use it to create melodies and left-hand chord voicings. This chord structure is a musical breath of fresh air for your ear, which is used to hearing only major or minor thirds in arpeggios.

You might be tempted to write these chords out, but I recommend that you learn this by ear to really internalize this new sound on a deep level.

LESSON 2: The Maj7b5 Chord Echo Game – Part 2 of 2

In this video lesson, I take a concert Cmaj7b5 chord structure and show you how to place it over multiple harmonic settings.

I explain how to use the maj7b5 structure as upper extensions when practicing your chords on the saxophone. Be sure to check out the “Dr. Jeckyll / Mr. Hyde” analogy with the chord at the 5:30 mark in the video.

LESSON 3: The Maj7b5 Chord – Piano Perspective

In this video lesson, I work with the maj7b5 chord at the piano to help you hear the structure clearly in terms of piano voicings over six different chords.

I explore the intervals used in the structure and also explain the piano voicings commonly used with this chord structure.

Includes PDF practice notes for Bb, C and Eb instruments.

LESSON 4: Trading Choruses and Fours on Satin Doll with Greg

When I grew up in Chicago, I learned so much by sitting in at clubs and trading choruses and fours with the more seasoned players in town. I would try and pick up on the older player’s “vibe” and sometimes continue his idea. It was like we were having a musical conversation.

I wanted to share some of that old-school approach with you in this video lesson. I’m accompanied by world-class pianist Judy Roberts. We play Satin Doll and you can trade choruses and 4’s with me. This is a really fun one! Don’t look at any chords. Use your ear. Watch me and listen and trade with me when it’s your turn. Try to really stay in the moment with me and Judy as we play this classic tune.

LESSON 5: Lessons from the Bandstand – John Young

In this video lesson, I share a story about working with the legendary Chicago pianist, John Young. This is a valuable real-world lesson about listening and interacting with the players on the bandstand.

LESSON 1: Moving 5ths

In this video lesson, I share a concept that I call “Moving 5ths.” This is a great way to add some voice-leading to a static chord.

For example. with a tune like “I’ll Remember April,” a soloist has four measures of a major seventh chord, followed four measures of a minor seventh chord. With the “Moving 5ths” strategy, it’s very easy to create a melodic change of color by highlighting the moving 5ths in the chords.

Includes detailed PDF practice notes for Bb, Eb and C instruments.

LESSON 2: Joe Henderson High D and Eb False Fingerings

Back in the late 1980’s and early 1990’s, I was so fortunate to have studied with Joe Henderson. I’ve always been a fan of his music and his approach. I used to hear him play every time he’d visit Chicago.

In this video lesson, I share two fingerings that I learned from intensive listening and study. While much of Joe’s technique is technically challenging, these two fingerings are very manageable, and they provide a very cool change of texture for these two palm key notes. Be sure to have your horn out to follow along with me in this lesson!

LESSON 3: Exploring Hip Lick #51

In this video lesson, I’ll explore Hip Lick #51 from my book, “Hip Licks for Saxophone, Volume 1.”

This is a Bbmi7 lick (tenor key) that is primarily based an an arpeggio that utilizes what I call “Direction 3,” which is a descending arpeggio followed by an ascending arpeggio. The lick highlights one of my favorite harmonic choices for a minor chord — the 11th.

Includes the “Echo Game” (by ear) for the lick in 12 keys, as well as twelve new endings for the lick — a new ending for the lick in each new key.

LESSON 4: 3D Dynamics – Decoupling Finger Pressure from Dynamics

In this video lesson, I share a technique that I developed to improve my technique by decoupling finger pressure from the dynamics being played on the horn. In my 20’s, I was playing a quiet background gig and I noticed that I had nice, smooth technique on that gig. Lots of effortless facility on the horn.

The next night, I had a very different type of gig. Jazz gig in a noisy club with a loud drummer and no microphone. I found that my technical facility on the horn seemed to have dropped overnight! I was struggling with technical passages that were easy the night before.

There was tension in my hands and arms. After the gig, I thought about it and made a startling realization. When I was playing softly, I was relaxed, pressing the keys lightly. On the loud gig, I was tense and pounding the keys down very hard as I was struggling to hear myself.

I realized that I needed to be able to separate my finger pressure from my dynamics. For the benefit of a visual reminder — this is the 3D part — I hold my mouthpiece cap close and far away from the camera as I demonstrate the concept.

This lesson will improve both your technique and your attention to dynamics!