Most Popular Lessons

I am always working with students on their hands. Quite a few have problems and bad habits. Well for that matter we all at some level usually have a problem or two and a bad habit or two! 

You HAVE to get your hands together and working well if you're going to play more interesting and complex music. 

i.e. Donna Lee is much more complex technically then Blue Boss or One Note Samba. 

? Working on Time Pt. 8 – Full Form Flow and Bridge Contrast

In Pt. 8, you’ll play through the entire form of Antônio Carlos Jobim’s Wave, applying developed comping ideas across all sections. The lesson focuses on maintaining time, dynamic control, and feel throughout the tune—especially as the bridge opens up and invites a more legato approach.

Rhythm Changes - Harmonic Vocabulary on the A Pt. 1

In this series, we’ll explore harmonic vocabulary for comping over the A sections of rhythm changes. In Pt. 1, we start with a common and widely used set of standard changes, providing a strong foundation for comping.

One key concept in this approach is treating the top note of each chord as a melodic line—essentially harmonizing a simple, stepwise motion. This helps create a natural, connected flow between voicings rather than thinking of each chord in isolation.

Hello everyone,

This lesson is the first of a few on dampening for beginners, although more advanced players could certainly benefit as well.

Check out the attached PDF!

Check out the attached PDF!

Check out the attached PDF!

Keep in mind, since making these videos, I now play the Dmaj 7 in the 7th bar. I got schooled by David Friedman for doing it the Bill Evans way and now I love the Dmaj7 and know the history of the tune! 

Talking about playing over parts of the tune.

🚨 Soloing Through the Changes Pt. 8 – Soloing with the Altered Scale

In Part 8, we explore the altered scale (seventh mode of melodic minor) as a way to create tension over dominant chords before resolving back to the tonic or next chord. This scale contains altered chord tones—♭9, ♯9, ♯11, and ♭13—which provide a wide palette of colors for jazz soloing.

Check out the attached PDF!