standards

With Root (G), 2nd (A), 3rd (B), flat-3rd (Bb), the descending chromatic movement of B to Bb is moving to A for Bar 9. The A could be the root note of the ii7 Chord as in the Allman Brothers version or to the 5th of the V7 Chord as in the Bobby Bland version.

Play to the Allman Brothers version starting with Bar 7 a root note progression of (two beats each) 2, 3", 3, 3', 3" and now that you're on the ii7 Chord play this 3" and the rest of the ii7 Chord for a line of 3" 4+ 5+ 6+ in eighth notes to hear the chord. continue reading...

Over the holidays I listened to Jimi Lee's new CD compiled of live performances of jazz standards. On this CD he sings, plays guitar and on every tune plays tasty harmonica. If you like jazz standards (Fly Me To The Moon, Bye Bye Blackbird, etc.) then I think you'll love this CD http://www.jimileeband.com/shop/

Jimi plays altered-tuned harps on this CD as well, so one of my students asked him to put a list together with the keys and turnings he used (thanks Dave) and Jimi posted this on his website (thanks Jimi) http://www.jimileeband.com/shop/jimi_lee_jazz_standards_cd_harp_key_list/

Stormy Monday is one of the most common songs to be played at jam sessions, or as the token blues song that a non-blues band knows how to play. It's so common that you'll see "No Stormy Monday or Mustang Sally allowed at this jam" hung on the wall at some clubs. With this disclaimer stated, you'll want to become familiar with this song due to it being so commonly played and for the fact that it's not a standard twelve bar blues.

Your homework today is to listen to the three most common covered versions of this song...

1) "Stormy Monday" T-Bone Walker continue reading...

Let's get back to the School of the Blues House Band Standards List. Rock Me Baby is our next song listed and is a good example of a standard shuffle (bordering on slow blues) made cool with the simple addition of a hook. The hook on the harmonica is below.

2nd Position (F Harmonica)
I7 = 2 2" 2 or 6+ 5 6+
IV7 = 4+ 3' 4+
V7 = 4 4+ 4

3rd Position
I7 = 4 4+ 4
IV7 = 2 2" 2 or 6+ 5 6+
V7 = 3" 2 3" or 6 6+ 6

This song is in the School of the Blues House Band Standards list because it shows the typical approach to breaks in a slow blues. Note that this is not a twelve bar progression, but a sixteen bar. What makes it sixteen is the fact that the first line is doubled (8 bars of the I Chord instead of 4). This is a typical treatment for a song with breaks, and a player should listen carefully in bar 4 for any movement to a IV chord or if it stays static... this is an easy place to make an error if you're not aware of the fact that breaks in the beginning of a song could indicate a 16 bar form. continue reading...

Most examples of this song start from the V (last four bars of the 12 Bar Blues Progression... V IV I V), contains the classic Root 3rd 5th 6th Octave bass line (2 3 4 5+ 6+ 5+ 4 3 on the harmonica... 1+ 2+ 3+ 3" 3' 3" 3+ 2+ for the IV Chord and 1 2' 3" 3 for the V Chord) and the classic mid-song break on the I (with the harmonica lick of 2 3 4 5+ 6+ in 2nd Position and 1 2' 3" 3 4 in 3rd Position).

The version the house band uses is in C and from the CD Muddy "Mississippi" Waters Live (Legacy Edition). Jerry Portnoy blows harp in 3rd Position (Bb Harmonica).

Here's the School of the Blues standards list that each of the student house bands learn. The first 9 songs represent the common grooves in the blues (as well as song 12 for a swing). Songs 10 and 11 are common 8 bar blues progressions and songs 13 through 20 are famous songs that have specific elements that need to be learned to be played well. There are various elements in these songs (breaks for example and errors in timing/form) that also help a new blues band learn their trade. You can see this list at https://www.facebook.com/bluesharmonica

Nice list of "Essential Blues Standards" http://www.chicagoblueslessons.com/home/shoji-s-100-blues-songs-2