Integrating Chords and Scales into Jazz Language ‘When I first started playing, I transcribed solos from records—Barney Kessel, Tal Farlow, Kenny Burrell, Johnay Smith, and especially Wes Montgomery. I dida't have any jazz vocabulary at the time, and I didn't have any idea of the subtle elements that make up a good solo. So, first by learning and then by analyzing the musical thinking of these accomplished players, I began to see how improvisations were constructed. I would transcribe one of Wes's pieces, and then I'd see, "Aha, here he's playing a substitution for the tonic,” or "That augmented arpeggio works well on the altered chord.” It was hard work, but it paid off In this chapter, I'l take you through some musical analysis in detail, working with the blues we started learning in Chapter 1—both, single-line and chord work—and then getting into an area beyond the blues. “Charged.up" C Mio Pentatonic bS “Charged-up" F Mixo bs (lesson continues on next page)‘A Super-Locran G Moxolygian Bh Dorian‘Gmaj7 (lonian)