Okay, this tune is called Blues
on the Bottom, twelve bar blues.
There's several courses of
the walking line that I will play
under the piano solo, that you can see.
Which has some good cells
strung together and
should help you in your continual
growth as a walking bassist.
I mean, developing good walking
lines is a lifetime vocation.
I'm still working on it, too.
But on this one,
we're gonna play the melody.
The first time,
play the actual melody notes, and
then you can play a little two
feel the second time through.
Then there's a piano solo for
a bunch of choruses, and
then there's a bass solo for at least
a couple choruses and maybe a few.
And then the drum trades with the drummer,
now that's trading fours with
the drummer is a tradition in jazz.
It'll get you used to hearing, trying
to keep your place in a four bar phrase
The blues is 12 bars, so
you've got three four bar phrases.
So you trade, the piano plays four bars
and then the drums play four bars alone.
The piano plays four bars,
the drums play four bars.
So you'll get a chance to practice that
muscle of being able to keep your place in
the rhythm while the drummer is
soloing during those four bars.
you sorta get after a while
it becomes second nature,
the feeling of the four-bar phrase where
you won't have to count all the time.
So there's a bunch of things
that you can grown in in this.
And then also, when it comes time to
playing your solo, I'm gonna be trying to
really play in straightforward phrases
that I would like you to pick up on.
I'll try to Play in such a way that
my phrases are very clear, and
introduce a little bebop vocabulary too.
But I promise not to go crazy into too
much double time or anything like that.
I want you to really be
able to hear melodies.
Really, that's the essence of improvising
too, to be able to be melodic.
And then occasionally if you wanna throw
something in that's a little bit more
overtly flashy or whatever.
It'll mean more,
if you don't do it so often, okay?
Here we go, blues on the bottom.