Jazz Guitar CD & Guide tutor by Carol Kaye

A self-help 1 hr. CD with fingering indications, chordal note arpeggios, and the real Jazz function of using them for your chordal soloing explained in an easy understandable educational way by vip-endorsed experienced educator professional with many awards in Jazz playing and Education for decades!  You get the right start in real Jazz when you learn from someone who was there doing it with the jazz-greats in the 1950s, also being the top-flight in professional recordings for decades, and listed as #3 on Jazz Polls in the 1970s, with a Lifetime Achievement in Pedagogy by Pittsburgh Jazz Society of Pittsburgh, home to many jazz greats.  This is the right start to playing Jazz, the "real stuff" as endorsed by the great Plas Johnson, jazz sax great of the Pink Panther films/recordings, and #1 sax in Hollywood recording.

Jazz works by learning chordal notes and substitute chordal patterns, never from nonsense note-scales commonly taught today by those who never played jazz in the 1950s.  Stop struggling with those failed note-scale systems that don't work, and learn from the experienced real jazz musician-educator who played real jazz with the jazz-greats of the 1950s.  Don't leave the most-important studying you need up to buying expensive but ignorant and wrong "jazz" tutors written by inexperienced people - you wouldn't trust novices to teach your child in school would you?  When you learn from an top-pro experienced jazz musician-teacher, you'll learn right away - it's important to get the right start in real jazz soloing and learning the way that it's been innovated from the beginning gets you there!

This is for the Guitar Player who wants to learn the Soloing Foundation of real jazz - it's the bridge to jazz from playing rock & roll/blues pop & funk etc. to understanding and using chordal notes and substitute patterns for instant learning to play jazz pattenrs, to the much-tougher Joe Pass real jazz tutors.  It's fun because it works - it's the only self-help primer that works and is highly endorsed.  You need this easy to learn theory and arpeggio substitute-chord study material to understand how the sub-chord patterns work, how to really think and learn real jazz (not just copy licks) in order to function and create jazz soloing yourself - copying transcriptions teaches you only how to copy, not to really create - this is the easy primer to all of that and note-scales are taught because of the lack of experience in the real world of jazz improv that was commonly taught and used in the 1950s, how the actual jazz-legend players really got their jazz improv patterns going.....instead, the latter-day teachers use the failed note-scales that were never used in forming jazz solos - don't be a failure, learn it the way everyone did it -- by chordal notes and sub-chordal patterns.   Free Lessons/Interview here, copy and paste this url:   http://www.youtube.com/watch?v=s9idtdWAAEA 

Carol Kaye has been teaching and playing professional jazz since 1949, has been awarded a Lifetime Achievement Award and Pedagogy by Pittsburgh Jazz Society in 2000 at Duquesne Univ., in 2004 Special Award by Hollywood Composers-Arrangers for Creative Movie Music Lines, Touchstone Award in 2000 for Pioneer in Music, Educator for various magazines, Seminars, and Private Teacher of 1,000s of successful top-pro musicians, and another Lifetime Achievement Award by Bass Player Magazine.  She's been teaching and playing professional jazz guitar since 1949 (except for much of the day-night heavy 1960s recording years in Hollywood), and was part of the LA fine vip legendary jazz musician group (see names below) who gigged every night in top South LA/Hollywood/Beach town jazz clubs, playing bebop jazz solos, comping etc. at a time when guitar wasn't used much because players needed to play solos like sax players, comp like pianists, etc....and the real way that everyone innovated jazz in the 1950s was to play chordal patterns which was easy by ear because...all musicians had learned CHORDAL NOTE, and Substitute Patterns (never scales!) backgrounds taught in the 1950s when you played 100s of Standards.....Fine Jazz comes from the Standards and their chord changes.  If you don't know how to function using chordal progressions, don't know what to do with a m7b5 chord, or how to use dim's for the 7ths, and other subs, then you need this tutor.

The real way to learn jazz is by chordal notes, sub chords, extended triads, cycle and back-cycle patterns, chordal progressions, ii-V7-I chordal progression, using the dims for 7ths, using the aug's for minors, going up the chordal scales, using the b5s for chord subs and all this you can learn easily IF.......you have the proper background theory training - this is not found anywhere else these days as former rockers do not teach this art.  This is not about chops for chromatics or just licks - it's an in-depth preparatory for the real jazz soloing playing the chordal way of playing the way everyone innovated fine jazz soloing in the 1950s when chordal training was popular with the complex chords.

Carol Kaye was a well-known and recognized top jazz guitarist in the 1950s, playing with the finest famous bebop groups & musicians in the 1950s, Red Mitchell, Teddy Edwards, Jack Sheldon, LeRoy Vinnegar, Joe Mainie, Billy Higgins, Frank Butler, Harold Land, Jimmy Smith Trio, Bobby Bryant big-band, Oliver Nelson Jazz Orchestra, Jack Millman big-band, Don Randi, Charlie Shumach, Jimmy Smith Trio, even recorded an LP with Chet Baker and Cannonball Adderly in the 1960s, later playing (and voted #3 in Jazz Bass) jazz bass with Art Pepper, Hampton Hawes, Joe Pass etc. and also recorded jazz bass with Cannonball Adderly, Bud Shank, Gabor Szabo, Bud Shank, Gene Ammons, Joe Williams, etc.

This CD is logical and easy to understand - it teaches step by step very well without reading but the music is there if you want it in the Guide.. Miles, Bird, Dizzy, Sonny Stitt etc.....all got their creative ideas this way from playing great sub chordal arrangements in in 1940s big bands which had sub-chords in their arrangements, even Duke Ellington used the b5 subs in the 1930s.  The finest jazz musicians today also learned this way (from the older jazz musicians on-stage with them), getting their real chordal theory going.  There's no need to "learn standards tune by tune" - if you know the real way to learn jazz, you never do that and you don't have to "grow up" with this music to get it either. This once-common system of teaching chordal notes and chord movements and chordal substitutions, back-cycling etc. is also designed this for ear players who can't use the more-advanced fine Joe Pass books and is easily learned and fun when you see quick improvement in your playing and understanding.

The real jazz improv is only taught by older jazz musician-educators in select schools, by some private older jazz musician-turned-teachers and a few younger musicians who learned chordal-pattern teaching from the older generation. It's the correct easily-learned great fun chordal-system that works.  You can learn real jazz improv if taught properly from an experienced educator.  You only need 1 hour maximum practice a day to begin with.  You will practice more later as you excel and graduate to deeper learning patterns.  This self-tutor booklet and self-teaching CD comes personally autographed with free Theory Music and Triad Practicing Music Sheets -  BUY the finest experienced-taught jazz education from the source!

PS. This tutor-item is a necessary pre-requisite for the new "JAZZ IMPROV SOLOING DVD COURSE" 1 hr. 52 min. DVD self-tutor and 2 Manuals (with chord charts, extras). This is the only Jazz Improv Course of its kind, and is highly endorsed by famous former students of Carol's who are now VIPs in the music industry in not only playing but in composing-arranging, such as the great Composer-Arranger John Clayton (Clayton-Hamilton Orchestra) and Alf Clausen, Grammy-Award composer-arranger winner of Simpsons TV - her jazz tutors were used at the Henry Mancini Institute-UCLA, Anthony Wilson learned his jazz patterns from her "Pro's Jazz Phrases - Treble Clef" book.  Carol's talent as jazz musician and educator is also mentioned in Quincy Jones' autobiography "Q" and other books, filmed interviews etc.  

See and hear jazz film clips on home-page including NAMM Trade show jazz guitar jam with George Benson www.carolkaye.com, other jazz film-clips on both guitar and bass. Carol Kaye, 26504 Bouquet Canyon Rd. #107, Santa Clarita, CA 91350 USA.   We accept Mail-In Payments as well as PayPal - orders are shipped immediately with free Music Theory and Triad Chordal practice sheets.  Sorry, due to recent EBay restrictions on mail costs, which really don't cover their fees/mailing costs now, we cannot combine any items to save money of shipping - also, we sell mostly at cost on EBay.

  PLAYING TIP #110 Some Quick Good Jazz Soloing Ideas:    On the standard, "There Is No Greater Love". Notice how the chords after the first Bbmaj7 are dominants....Eb7, Ab7, G7, C7 then F7. Here's how you chordally work those: The Eb7 is cyclic to Bb and Eb7 being a 7th chord, it's basically like Bbm (Bbm/Eb7 tho't of as the "same" chord, the ii and V7 always moving together and used interchangeably).  For Bbmaj7, play a pattern, for Eb7, repeat that same pattern UP 3 frets (major to minor), it's Dbmaj7 but you don't need to even think of that, just repeat the pattern up 3 frets to make it a minor chord (for Eb7, one of the listed chordal subs in my book for dominants) and then for Ab7, play your Ebm, and for G7, play your Dm, the ii and V7 working together (m9ths work fine too, or just stacked minor chords for other ideas). Then you have time with the C7 and the F7, work your Gm stacked triads for C7, and for F7, do something different to wrap up that 8 bars, start with the Cm7 stacked triads (if you want), ending with the Gbdim (start with F of course), or starting with F, do your diminish w/parallel 4ths moving down etc.etc.....

This jazz tutor is endorsed by Prof. Joel Leach, 30+ year Head of Music, Cal-State Northridge, Jazz sax legend Plas Johnson ("Pink Panther", "Peter Gunn" etc.), jazz greats also former students:  John Clayton (famed award-winning musician/composer-arranger), Jim Hughart (jazz legend) and Alf Clausen (award-winner composer-arranger, Simpsons and Moonlighting TV shows) and Bob Bain, former Tonite Show Johnny Carson big-band guitarist, and probably the most-recorded guitarist in the world, and the great Jackie Kelson, lead saxman with the great Count Basie Orchestra, and longtime jazz sax legend, studio legend on Motown hits also.  

See Carol Kaye jam jazz guitar with the great George Benson at www.carolkaye.com   and other jazz films there, soundclips in LIBRARY.

Free lessons and interview at:  http://www.youtube.com/watch?v=s9idtdWAAEA

>>>>Thank you Carol!  Your leadership in Jazz Education for Guitar/Bass is simply amazing. I've made a renewed commitment to Jazz Guitar and will be remediating and rebuilding my foundation with your materials. I love your direct, honest approach and results orientation. All the best!  B <<<<<