Jazz´ld solos vol.

1
Suitable for Aebersold Play-A-Long vol. 54: Maiden Voyage

Index
About this book 3
Jazz solo 1 (based on Impressions) 5
Jazz solo 2 (blues in Bb) 11
Jazz solo 3 (based on Blue Bossa) 15
Jazz solo 4 (based on Summertime) 20
Jazz solo 5 (based on Watermelon Man) 25
Jazz solo 6 (based on Song For My Father) 29
Jazz solo 7 (based on Satin Doll) 33
Jazz solo 8 (based on Maiden Voyage) 38
Jazz solo 9 (blues in F) 42
Jazz solo 10 (based on Cantaloupe Island) 45
Jazz solo 11 (based on Footprints) 50
Jazz solo 12 (based on Doxy) 54
Jazz solo 13 (based on Autumn Leaves) 58
About the author 63

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 Jazz´ld solos vol. 2

Foreword
Congratulations! You should have several hours of fun playing ahead of you with Jazz’ld Jazz Solos. Use
them to improve your instrument technique. Use them to become a better improviser. Use them to improve
sight reading. Abuse them. Change them. Steal from them. Play them backwards. There are no restrictions; it
is up to you to get the most out of them. These solos are written to help you become a better musician and
jazz player.

The solos are written over the chord progressions from famous jazz standards. Each solo is made up of several
choruses, gradually getting more challenging. Play them on your own, with friends, or with the Jamie
Aebersold play-along recording vol. 54: Maiden Voyage. Each written solo matches a track on the play-along
album, and playing them with a “real” rhythm section will instantly let you hear the relationship between the
melody and the chords.

Are you a music student about to enter the world of jazz? Are you an advanced jazz student? A skilled
amateur musician? A music educator looking for new material? Perhaps a classically trained musician
wanting to visit the world of jazz? Or are you a professional jazz musician looking for new inspiration? The
Jazz’ld solos are not for everyone, but I have tried to make them fit as many instruments and levels of
playing as possible. I hope they are a good fit for you!

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 Jazz´ld solos vol. 2

PHRASING
All solos have clear indications of phrasing. This is how an experienced jazz musician could choose to interpret
the melodies. But the indicated phrasing is not the only solution, so feel free to make changes and play the
solos how you think they should sound, and make them work on your instrument.

The phrasing is intended to work for wind players, but most of it is just as useful for rhythm-section
instruments. Piano, guitar and bass players tend to be very focused on when to start a note, but less concerned
about when to end it.

If nothing is indicated, I suggest that you play lines of eight notes legato, and single eight and quarter notes
short.

This phrase:

should be phrased like this:

RANGE
The solos are kept within a range of two to three octaves. If there are sections that are too high or too low, feel
free to play them in another octave. If you want to challenge yourself further, try playing the solos (or selected
parts of them) in another octave, building up either your low- or high-range skills.

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Suitable for the play-along
Vol. 54 Maiden Voyage (Aebersold)

Vol. 1:
Jazz Solo 1
Based on Impressions

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5
Suitable for Vol. 54 Maiden Voyage (Aebersold) Vol. 1 Jazz Solo 1
Based on Impressions
-2-

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& Œ

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&Œ Ó

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6
Suitable for Vol. 54 Maiden Voyage (Aebersold) Vol. 1 Jazz Solo 1
Based on Impressions
-3-

œ œ œ œ w œ œ œ œ œ œ w
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& ∑

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