The original version can be found on The Best of Kenny Dorham Blue note years (Blue Note).Many great players have covered this tune including; Pat Martino, Joe Pass, George Benson, Kenny Burrell and a great duo version by Bobby McFerrin and Chick Corea.
![]() Blue Bossa is also a tune that is used as a study piece in many music colleges, as it is a good introduction to playing and improvising over jazz tunes due to it being harmonically quite simple. There are lots of articulations in rock and blues such as bends, slides and vibrato. If you are playing a Strat like guitar, try putting it on the neck pick up with the tone control rolled back to about 3. One should be familiar with terms such as Major and minor II V I progressions, as this is what this tune is predominantly made up of. Try making some of the licks and lines your own by phrasing them differently as well as trying them in different keys and tunes. Many famous jazz players, when interviewed have underlined the importance of transcribing a favourite players lines. They have learnt from this method and used them in their own playing. The backing track is for you to try playing the solo over and to practice improvising over this classic standard. Lets go through each of the solos and point out any interesting or tricky parts. ![]() By using good phrasing and note choice, you can construct a fairly convincing jazz solo by just using those two scales. Notice how the solo uses an almost constant stream of 8th notes occasionally broken up with a rest or a couple of 16th notes. This is the rhythmic aspect that will help to give you that authentic jazz sound. You may notice that on the harmonic side of things, the intervals between notes are much larger than you may play in a rock or blues solo. This can be clearly seen with a tricky line over the D flat Major II V I starting on bar 9. It was not until the be-bop era that players also started to use the modal approach (grouping a bunch of chords together in one key). Being able to improvise using just arpeggios, is a great skill to have, this will make your solos sound much more sophisticated as you outline the chords underneath. However, it can also end up sounding quite predictable as there is only so much you can do with it because there are no danger notes. The best approach in a normal situation would be to use a little of both. This is the most technically demanding of all the three solos, as the fingering for these arpeggios is not always natural. This can clearly be seen within the first two bars using just a C m7 arpeggio in different positions.
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