"Jazz Improvisation Tips" Jerry Bergonzi Amazing Out-on-Purpose Saxophone Solo How to Improvise Jazz
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- Go to JazzHeaven.com/... for more Jazz Improvisation Tips Videos with Jerry Bergonzi! This was an excerpt from Jerry Bergonzi Jazz Improvisation Lesson/Masterclass video entitled "Creating a Jazz Vocabulary Vol. 2." Jam-packed Jazz Improvisation Lessons: 2h Lesson, 60-min Interview, Performances, Play-Along MP3s, PDFs and lots MORE.
A master jazz saxophonist AND master jazz improvisation teacher!
A rare combination, indeed.
Also feat. Brian Levy (sax/piano).
Click on jazzheaven.com - other killer jazz improvisation instructional videos for all instruments with Kenny Werner, Jean-Michel Pilc, Walt Weiskopf, Vince Herring, Lee Konitz and MORE.
(Plus jazz instructional videos with MANY other great jazz artists like Oz Noy, Eric Harland, Ralph Peterson, Ari Hoenig, Lage Lund, Gilad Hekselman, Ingrid Jensen, Geoffrey Keezer, Enrico Pieranunzi & more.)
Go to JazzHeaven.com to check out the madness!
Tenor saxophonist, Jerry Bergonzi, is an internationally recognized jazz performer, composer, author and educator. His music is renowned for its innovation, mastery, and integrity. Relentless drive, inner fire, total command, awesome technique, elastic lyricism, rich resonance, world-class, a musical visionary, are among the rave reviews credited to his sound. Bergonzi's music has been applauded throughout the world at festivals, concert halls, and jazz venues and his dedication to jazz music has been well documented by an extensive discography.
The Italian label, Red Records, was Bergonzi's greatest supporter. "Red Records was the first label that really believed in my music." says Jerry. They released four CD's with Bergonzi as the leader, including, Lineage, a live recording featuring Mulgrew Miller, Dave Santoro, and Adam Nussbaum. Jerry later played with the Red Record all-stars including Kenny Barron, and Bobby Watson, as well as on a number of other Red releases with Salvatore Tranchini, Fred Hersch, and Alex Riel. He has also performed and recorded with the George Gruntz Big Band, the Gil Evans Orchestra (Miles Davis in Montreaux), and 12 Jazz Visits in Copenhagan for Stunt Records. The Riel Deal, on Stunt, featured drummer Alex Riel, Kenny Werner and Jesper Lundgaard, and was awarded a Grammy in Denmark for best jazz recording in 1997. An association with Daniel Humair and the late J.F.Jenny Clark yielded a number of recordings for the French, Label Bleu. One of which was Bergonzi's CD, Global Summit, it featured Tiger Okoshi, Joachim Kuhn, Daniel Humair and Dave Santoro. This was the product of one of three National Endowments awarded Bergonzi. Another project with pianist Kuhn won the accolade Best Jazz Album in France 1992. Among the many other artists that Bergonzi has performed and recorded with are; John Abercrombie, Nando Michelin, Antonio Farao, Bill Evans (with the National Jazz Ensemble), Joe D'Orio, Eddie Gomez, Miroslaz Vitous, George Mraz, Billy Hart, Andy Laverne, Steve Swallow, Hal Galper, Roy Haynes, Charlie Mariano, Bob Cranshaw, Ray Drummond, Billy Drummond, Danny Richmond, Danny Gottlieb, Dave Holland, Jack DeJonette, Paul Desmond, Bennie Wallace, Gerry Mulligan, Hal Crook, Herb Pomeroy, Mike Manieri, Mark Johnson, Michel Portal, Marcel Solal, Pat Martino, Franco Ambrosetti, and many more.
The Double-Time Records label has released most of Bergonzi's recent work. Just Within, Lost in the Shuffle, Wiggy, and A Different Look, were recorded by Bergonzi's burning organ trio, with Dan Wall and Adam Nussbaum. Also on Double-Time, The Dave Santoro Standard recordings feature Bergonzi's swinging tenor along with drummer Tom Melito and pianists Bruce Barth and Renato Chicco. As a band leader, Bergonzi has performed worldwide at the Red Sea, San Remo, Moomba, and North Sea Jazz festivals, to name a few. He has appeared at the World Saxophone Congress in Montreal, Canada and Valencia, Spain with fellow saxophonist Philippe Geiss. Bergonzi's performance at the Subway in Cologne has been featured on the German TV series, Round Midnight. His quartet performs at Duc de Lombarde in Paris, the Fasching in Stockholm, the Jazz House in Copenhagan, and the Bird's Eye in Basel, and many others.
Today, Bergonzi makes his home in Boston area with his wife and two children. He continues to teach and perform worldwide. He endorses Selmer Saxophones, Rico Reeds and Zildjian Cymbals.
"This guy is the real tower of power.....His bold penetrating tone and furiously paced streams of notes make for a commanding voice indeed. His passionate improvisations are marked by a consistency of strength in every register and a penchant for harmonic development." Bill Milkowski Downbeat Review
Hope you enjoyed these jazz improvisation tips
• "Jazz Improvisation Ti... - เพลง
I'm sure the majority of negative comments are coming from those have no true knowledge of jazz music. Unlock your ears.
Peace & Keep Swinging,
Andre Hayward
Please knock off that presumptuous attitude. The jazz has indeed become unlistenable mostly because of wild over-intellectualisation of the music theory behind it, that elevated these wild sketches, so to speak, at the level of finished pieces. Of course, there is a need for such sketches, but it is preposterous to claim that is "what the jazz should be". All the same, you would scream out loud if a painter exhibits his mere napkin scribble in the galleries, or the content of his used handkerchiefs, and selling those at the prices of some formidable finished oils. Or if a cook in a restaurant gave you raw chicken and some wild turnip to gnaw.
Someone asked Michael Brecker "what's it like to be the greatest saxophonist in the world?" He answered:: "how would I know, go ask Jerry Bergonzi."
In the early 80’s I asked Mike if he taught, and he told me that if I wanted to learn sax, I should study with Jerry. Did that for a year; still working on it!
Cmaj7 with Dmaj7 on top and then Emaj7 on top and then F# maj7 on top wooow !! that's a whole new dimension to me! I'm playing Emaj7 arpeggio against Cmaj7 chord and the sound is sooo satisfying! I've always wondered how to make b9 or #15 sound good over a major 7th chord or even b3, and now I kinda know how! I'm also converting the major chords to minors and applying the same magical principal and the result is just outlandish! Thanx a LOT Jerry! Really thank you! You changed my life!
Yeah, that's why he's one of the main profs at Berklee and plays all over the world. Where do you teach when you're not playing gigs in Europe? Oh, you don't gig or teach....too bad then. Keep quite, listen and learn something.
Even when he tries to play the wrong notes... they just come out right.
This guy changed my life
Holy Fuck--That was Archie Shepp--only a better one.
It's not really the "wrong notes." His improvising is structured within the context of itself, which is the point that he's making. It just happens to be in an incongruous key from what the piano is doing. This isn't "wrong notes." Truly wrong notes would not have much or any structure to them; they wouldn't "make sense". His solo by itself makes a whole lot of sense.
Do you think the relationship between his solo and what the guy is doing on piano makes any sense?
Ester Samuels
No
@@Martinez-mr3uy Actually it does. I transcribed the solo and when you analyze it as vertical upper structures it makes more sense, especially based on his description at the end of the video. Also he usually plays the most "outside" ideas over cadences, which have the most harmonic flexibility.
I studied with Jerry many years ago in Boston. He gave me enough to study in a few lessons to work on for the rest of my life. (Still working on it.)
He's a very dedicated musician, and a good teacher. I haven't looked at this material, but I know that anything he would offer would be well thought out and worth studying.
May be wrong notes. But still sounds good.
It does not sound good; if Mozart did same, you would call him a classical idiot. The notes Jerry is playing are fine, BUT, the improvisation on the spot cannot always yield in a quality piece - the idea must be exercised, and parts that don't work taken out.
I agree with you Zvonimir ... We've reached the stage where people are playing so many substitutions and extensions it all sounds like noise ... Everyone wants to play like Coltrane instead of Getz or the like. Harmony over melody ... And the music is lost ... Hopefully it will swing back the other day because right now jazz is lost in the technicians playing only for themselves and other players in the audience ... I can't stand this stuff for more than 5 minutes ... Just my opinion ....
@@obergssin i dont recall anyone asking for ur opinion :)
His "wrong" notes sound better than my right notes.
I am a guitarist and I highly recommend jerry's book on pentatonics. Guitar players (especially rock) tend to learn a minor pentatonic in a few positions,learn a bunch of licks based on that and call it good , but even if you arent a jazz player his book Pentatonics Vol 2 will open your eyes to so many posibilities! I plan on getting other books in his Inside Improvisation Series too. Thanks for the great work Jerry
Thanks Jerry, just googled _"#15 #19 #22"_ and _"fancy names for different sounds"_
the vaccine came up, along with the definition of onomatopoeia.
Never learn changes... Just play anything. Got it!
hahaha... :)
Sharp 23. YES.
@@chrisrocks2010 yup! Also a #9!!Wes did this by playing a B Aug. Triad over E maj.7(East Wes).
I think TSaxPro will understand a little more when he is past the middle school beginners band. Don't you worry son, you will get there :)
Wow that is pretty impressive. Its really hard to play the wrong notes in your brain....you tried but still did play in the pocket cuz nobody can do that.
Jerry, after so many years I studied with you (surely you forgot about me - nothing special, just another German saxplayer in Boston beginning 80s...) you still kill me! Love it! - Rainer, freelancing in India - yes the people love jazz here!
Are you serious? Jerry's sound is remarkable and his playing is great, especially for the fact that he is playing all wrong notes. If you're a "TSaxPro" try it and post a video of your first take then lets see if your so quick to judge.
The pianist knows his stuff too. It is really hard to hear Jerry's chord changes. I think that to comp successfully for a man like Jerry you would have to work with him for some time and get to know the music intimately.
absolutely none of these notes are wrong. Lol.
Amazing how the piano player was able to handle keeping up with Jerry's amazing rhythms!
That what I was thinking hah
Job well done Sir. You should do some jazz clinics in NY.
40 people never heard jazz
This man is great!. I met him while he was attending Lowell State College. He is from East Boston. These videos are so helpful
He brings out different colors of sound with a nice blend, really inspiring
great stuff thanks those extensions thou best ....... why do people talk shit about him and his playing when you're a no-body. You are "Ungoogleable" compared to him...post a link where you are better.
🙄💚🌼🌱
This man is amazing I too play the tenor but not as good this is my first year, however the cheeks bother me but he sounds amazing. Maybe cuz I switched from tuba I've been told to keep my cheeks from puffing so I guess so
+Eghosa Edigin I agree, my director say not to have puffed out cheeks, I have never had this problem but it annoys me to no end when people do it. I also agree with you that it sounded good
my conductor says not to do it, but I've developed a habit of doing it. Sometimes it gives me a darker, better sound throughout the lower and higher registers so I do it during solos.
jerry bergonzi explains why jazz is so profound in 4 and a half of minutes
"Sharp 15, Sharp 23" - this guy's ears are ridiculous...
"I'll play all the wrong notes"
...and still sound a million times better than me :(
"Sharp 23"! "Tonal Expansions"! "Fancy names for just some different sounds."
What is there not to like. You are an amazing saxophonist. You got it all ''together'' a real musician that's for sure.
Thank you.
Very good explanation of upper structure tensions...well done Jerry
"There are no wrong notes, there are only right notes played wrong."
Does not sounds as good as it would if he was not trying to demonstrate
Makes me want to play all the wrong notes i possibly can lol
Mr. Bergonzi, what an amazing and knowlegable musician you are. I love you're clips. Thanks
Man ! this guy knows his music ! I wish I could hit the wrong notes like he does !
I want to see this guy make a chromatic scale and make it sound good.
LOL. That guy is out to lunch.
Is that an old Selmer Cigar Cutter?
really appreciate these videos guys, keep it up.
thanks a lot
Dolphy playing haha
Thanks a lot. Awesome!
His saxophone is beautiful....
Spot on! Thank you Jerry Bergonzi
I to have a dream to play like him
A pygmy scale? I love it!
Jerry's Ladder?? Awesome!!
Dude Awesome playing!!
It's all about getting the rhythmic ideas to match up with the technique. Once you understand the theory behind the modes (Major, minor, dminished, augmented, whole tone), all the permutations and inversions of those modes, and how the harmonies are formed in the tunes.....then you can always play some kind of chord with some kind of jazz feel and resolve it eventually to the tonal center. Again, although, that's a VERY TALL ORDER!
Now do that in every key and you're in business...
nice place..lol
3:05 "Sharp 15" !
This helps a lot!
sharp 15 lol
very useful.
solar
Wow!
der Meister
How do I get to play like this.? . This is what I am after.
tinman19672000 Free your mind of questions like this, free your mind of the fear to sound bad, practice a lot and most importantly love what your doing or you're doing the wrong thing.
+Lars Richter that's some solid advice. I just started myself, and that's what I was looking for. Thank you
How do you know what scale to use for songs? I need help someone please.
If you're asking this question, then you probably shouldn't be too worried about improvising yet. To truly improvise you must have a strong enough theoretical background that everything is second nature to you; if you hear the harmony section play a C7b9#11, you need to instinctively know which scale/mode to play over it (whether you get to this point by studying, or just by playing is up to you- but the studying route will get you there much faster and more efficiently since you can learn from all the trial and error players before you have done, instead of having to reinvent the wheel by yourself) There's nothing wrong with doing some experimentation, but if you attempt to play jazz before you have your theoretical basics down, then not only will you be wasting your time and seeing very little progress, but you also run the risk of forming bad technical habits that will make your life tougher when the time comes that you do start studying. Check out some of the online resources such as musictheory dot net (don't know how to hyperlink here, sorry) to learn your basic seventh chords and their corresponding scales, but also make sure that you learn about functional harmony (the diatonic chords formed from the key scale, and the common borrowed chords such as secondary dominants and chords taken from the parallel minor scale, and all of their functions in a progression). A good starting point for improvisation is to practice soloing using chord tones ONLY, meaning the notes of the chord you're playing over. So if you're playing over a II-V-I in C (Dm7-G7-Cmaj7) then you would play some combination of the notes DFAC over Dm7, GBDF over G7, and CEGB over Cmaj7. Once you get comfortable, switch keys and repeat. Once it feels natural in all 12 keys, and you can play over II-V-I's without having to consciously think about which notes to play next, then you are ready to start adding in other notes such as passing tones, leading tones and "color" notes. Start by adding passing tones, which at the basic level is simply chromatically linking two notes in a phrase. Say you're playing EGCB over Cmaj7- you could add an F and F# between the E and the G, so that the line walks chromatically up to the G as: EFF#G. The common tones to use in this fashion are b3's b5's and b7's, all generally leading to the scale degree from which they are derived (i.e. b3 usually leads to 3) and you can pretty safely experiment with different combinations of these notes without causing any unpleasant or unresolved dissonance.
Check out gary burton's lectures on improv. there's a free course at coursera as well i think
Julian Bradley soloing tip will give you exactly what you need
I couldn't disagree more. So many greats started and learned by playing by ear, listening and copying what their "heroes" did. You can't lock yourself up for years just practising by yourself learning theory and expect to be a strong musician. The theory's only purpose is to better your musicality. By studying music exclusively with theory, you won't be able to actually play the lines, the notes that your hear, or go to new places, that improvisation can lead you to. You won't be able to improvise properly and end up with a lot of work unlearning...
As Bill Evans say "It takes years of playing to forget the theory".
My advice would be to listen to Stan Getz, Bud Powell, Wes etc. and try to copy what they do by ear. For me, this is by far the most musical and best way for getting better at playing music.