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A rarity to see in the jazz world! Tons of content on other artist's but lacking their personal reasoning for things. Great insight to a great player that I've made sure to send to all my students! Thanks, Dave!

ive been using your simple steps for improvisation the last few months and ive been digging it bro! im a senior in high school playing 1st tenor in our jazz band and lets just say my band director has been very pleased with my solo improvement and so have i! we've got our state competition in a few weeks and i've got a couple solos i'm playing and your lessons have really made me feel comfortable with the changes and style differentiations so thank for all you do. hoping for a good placement at the comp but who cares too much as long as i have a good time and play to my best.

Thanks for this video Dave. I loved this solo and the breakdown. Excited to see where this new series goes!

A great solo and a great transcription! I'd like to remember that it was me that brought your attention to this transcription!?! Or was it another? Anyhow, still practicing your very solo to this day!

Thank you Dave! It is so precious...

Great discussion, even better playing....I am going to work through the pdf this week. Honestly, it will be a solid month or more of work for me! Thanks Dave!

This was really fascinating Dave. I can hear you were obviously playing the tonic diminished in bar 4 (Eb°) and the back door dominant sound in bar 10 (Fm7 Bb13#11), as everyone normally does, but because the transcriber wrote different chord symbols you seemed to be almost revising history and talking yourself out of what you played to make it fit the page. Eg on the back door dominant “meh, I meant to play a B on that G7” or whatever. Not that I’m assuming to know your mind, but I think that Fm sound was exactly what you meant to play. You were nailing that back door ii V sound. 😂 Same with the diminished sound in bar 4. Another really funny bit was in the triplet turns when you said “was it that? I better practice that” 😂 You LITERALLY already nailed it right there on the recording, so it COULDN’T have been the written thing you were struggling with that you originally played? Fascinating. I suspect you’re just too much of a nice guy to contradict the great work of the transcriber. 😊 Great video man. I loved peering inside your mind here, but especially loved the justifications and the underlying thought process more than anything. Like you said you were thinking about a D harm min sound, and that’s the important bit for me, but there were a bunch of Cs or whatever in there. I get it all, and I embrace the fact that none has to make sense either! 😂 Maybe I should do something like this, I dunno. People are always asking what you’re thinking aren’t they? Although it would be so much better to have Branford or something do it, not me!!! Good stuff bro ❤❤❤

Thanks Dave! This is such a great (and original) format. Amazing insight. As a student of jazz it’s sometimes difficult to move from theory to application and this format of teaching really helps that. Looking forward to #2

Glad to see even at this level of playing it's still "that sounds goofy I dont like it" when you listen to yourself haha

This is great, thanks Dave. I started humming the first few bars of Fried Bananas about ten days ago. I wanted to memorized the melody and wondered if it was a contrafact. I started a bit of a deep dive into Chet Baker and Sinatra. Eventually the transcription of your solo popped up so I was working my way through that. Now you are explaining it all to me. It's like serendipitous but I still haven't memorized Fried Bananas. There are never enough hours in a day.

ily dave

That was so interesting and useful. I like your playing and it sounds so far away from where I am, but with the explanation i believe that some of that is attainable. Thanks so much. 😊🥰

Hey Dave! I hope you’re having another vibrant Friday. This was a super fun and engaging video. I really appreciate your analysis of the end of your solo in which you clarified that you were playing C major at one point, and you proceeded to not play C major throughout the duration of the last 3 chords of the turnaround. I am too analytical about these things, and if I transcribed you I would have assumed that you were thinking Cmaj7//Ab-9//D7b9b13//Bmaj13//Cmaj7 (whereas altered turnarounds [most notoriously the Imaj7//bIIImaj7//bVImaj7//bIImaj7] are another Tadd Dameron jazz cliché and a world of its that is own worth plenty of exploration!). Additionally, after collecting and reflecting from your Hang with Nathan and Ryan, I am now seeing into Ryan’s point (which Jacob Collier has also articulated eloquently in the past) about his academic study of any tone being able to function as a feasible melody note. I am particularly referring to the contextually (and unexpectedly) pleasant sound of the natural 7 over the diatonic V7 chord. You can trace this back to two chords, as you have mentioned, the first being the bIIImaj7 upper structure of the bvi-7 in a Sub ii//Sub V//I progression, or simply to its inherent being as the fifth of V7/iii (VII7), which is, in the case of C, the F# of B7, and its tendency to resolve upward by half-step to the fifth of Cmaj7, which is the lower structure of the typical resolution point that is E-7. Thank you for sharing this especially long video. I really enjoyed gaining insight from you about how you think on a large scale level about your melodic construction as it particularly pertains to your note-based musical elements of improvisation! Looking forward to more good times ahead! Best wishes.

Awesome analysis. It’s what you played… but what were you thinking? Zen? Clear your mind? Close your eyes and picture yourself on a desert island? 😂 Awesome to hear the solos and see the physical transcriptions. Bravo to those that transcribed the solos. You’re awesome Dave!

30:24 I kind of like it, reminds me of Cannonball

Great solo, have spent some time on this in the past not only because of language but also to emulate that amazing alto sound. Thank you very much for that awesome series!

Great content!!😊

Really great video. Ps I shoulda also said really great solo as well. Sound, articulation, time and content the trifecta plus one.

I’m just curious, why did you play the solo the way you did the very first time? Do you think about what cord when playing a solo? Is it all originally by you or is the solo a combination of licks? By all means, the playing is great.

Yo….what scale was that?

Thank you for taking the time to share this. Love the solo, there’s lots to take away. Is there an audio version of it?

I'm always fascinated, and a bit confused, when what on paper looks wrong, but still sounds great. Example: bar 39 is an Em7 arpeggio, but should be Em7b5. It speaks to me that melody and intent are more important than notes. However, I'm not saying that Notes Don't Matter...

Hey Dave! Any chance you could do your solo on "There Will Never Be Another You" from the video you did with a student a while back? It's titled 10/10 Stank Faces. I've always loved this solo and transcribed it myself, but would love a breakdown!

What mouthpiece are you using?

A bit strange use of "A cappella". I suppose it's correct, but I always associate the term with vocal music. I feel you are playing "unaccompanied". A Cappella Has Italian Roots A cappella arrived in English from Italian sometime around the late-18th century. In Italian, a cappella means "in chapel or choir style." Cappella is the Italian word for "chapel"; the English word chapel is ultimately (if independently) derived from the Medieval Latin word cappella, which is the source of the Italian cappella as well. Scholars once thought all "chapel style" music written before the 1600s was performed a cappella, but modern research has revealed that instruments might have doubled or substituted for some voices back then. Today a cappella describes a purely vocal performance.

you know damn well thats not goofy.... c'mon man!

"I don't like it" - Me trying to understand what the heck it's going on! THAT SICK LICK

I think all techniques I need are here included!! Thanks for this video. Especially your time feeling is incredible, and I like I'd appreciate it if you could explain how you are feeling it in your brain. Thank you!!