How Joe Pass Makes Jazz Chords Simple & Easy
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- Опубликовано: 1 авг 2024
- How does Joe Pass think about chord progressions and use that when he improvises? This video takes a look at that and explains strengths and weaknesses with his approach using his own examples and explanations.
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Content:
00:00 Intro - Joe Pass
00:59 II V is just V
02:08 Pros and Cons of Reducing Chord Progressions
03:01 Bebop: More Chords! (but also less chords)
04:33 Joe Pass: Just 3 Chords!
07:52 Reviewing Other Peoples Teaching
08:10 IVm and Backdoor Dominants
10:04 Getting Rid of Filler Chords
10:19 Like the video? Check out My Partreon page
My name is Jens Larsen, Danish Jazz Guitarist, and Educator. The videos on this channel will help you explore and enjoy Jazz. Some of it is how to play jazz guitar, but other videos are more on Music Theory like Jazz Chords or advice on how to practice and learn Jazz, on guitar or any other instrument.
The videos are mostly jazz guitar lessons, but also music theory, analysis of songs and videos on jazz guitars.
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I'm not certain there will ever be a time in my life where I'll be playing Jazz, yet I can't help but religiously watch and learn from you. Thanks for all you do and for keeping my brain active and healthy
Great that you like the videos even if you don't play Jazz! 🙏🙂
@@JensLarsen absolutely! they open up my mind to seeing the fretboard and hearing harmony in ways that I wouldn’t get from Metal
@@GHAddict112 That’s for sure. You may grow up musically later, though, hang in there. Try to see beyond personalities/emotionality/grievances- the three mainstays of metal. There is very little actual music there - your interest in jazz may be an indicator that you will eventually realize this
@@dougcameron6609 I almost exclusively listen to and study jazz, I just enjoy playing metal. I appreciate your opinion though, maybe check out some Prog or something before deciding nobody in metal knows music though
@@GHAddict112 Yeah guy, I’ve heard the prog and the dream theater and all that. Thanks, though, youngster
Joe Pass is my favorite jazz guitarrist. His style is unique, the solo performance are great, he uses the guitar like a classical guitarrist.
Breaking chords down to its simplest form is a great anology for most problem solving. Thanks Jens.
Jens is not only well versed in jazz knowledge but is a monster player as well.
Thank you! 🙂
Maybe one of the best in voicing the smallest samples, so beautiful sound every time he releases a note!
Very, very useful. Thank you. BTW, about 35 years ago I saw Joe Pass in a private guitar clinic organised by a music educator and held in a beautiful garden on a lovely day. The students gave an ensemble concert where each played a little solo and Joe, none too gently , demolished any non musical choices and demonstrated better choices. His playing was, of course, beautiful but he reminded me of my Italian greengrocer in a grumpy mood. While puffing on his ever present cigar ( a not very common sight in Australia) he lamented that , given his time again, he would have become a professional arranger- more money and less touring.
One thing I really respect Joe Pass about is him having his own theories from his own discoveries and understanding of his musical ways. His performance with Ella with just him playing the music in the back and Ella singing, the stuff he plays to me was really the concentrated way of all the essence and left out unnecessary stuff which made the accompanying very smooth, full and not distracting.
Certainly!
Also he has "good taste" if you know what I mean
The best thing I’ve learned from Joe Pass about chords that opened up the way I see them is this: every dominant can be altered, every minor can be replaced with dominant which can then be altered, and every major can be replaced by its minor and so on and so forth. Essentially every chord is fair game for alterations, and it’s important to find those mini progressions within the progression as well to add even another layer of melodical ideas in the tune.
Joe Pass has so much to teach in his legacy. A truly unique perspective, making him such an icon. Cheers for the analysis.
Glad you like it Ron!
...the man himself!
You've got the best educational guitar channel on this platform man
Thank you 🙂
Just listened to Virtuoso yesterday. Always a marvel how *easy* it all sounds.
I always listen carefully to Joe - Oscar Peterson said he was a genius - that's good enough for me.
Many years ago in Classical Theory Lessons, I was taught: 'The Subdominant elaborates on the Tonic and prepares for the Dominant.' Later in the day, I would turn on the radio and hear a Pop song 'slide' straight up a Whole Tone. There was no elaboration or preparation, just the (supposed) 'coarse' sliding up a Whole Tone. I thought about writing to the Radio Presenter at the station and asking him to play songs that 'had correct Classical Modulation.' He probably wouldn't have taken any notice.
Then I learned that the ii - V7 - I was a Jazz Version of the 'Classical' I - IV - V7. I love your old teacher's definition (at 2:50) that the iim7 chord is a suspension that got out of hand. I thought similar - especially C (pitch) being a suspension to B. I also agree to chords being named according to their function. That makes a lot of sense.
I liked all the min IV tricks (from: 8:48). Lots of lovely colours to use. It's a bit beyond my vocabulary just now, but I'm getting there. Thanks so much for the video Jens ! 🤘😊
I remember watching this video on VHS tape years ago. Love it. One of my favourite guitarists along with Wes, George Benson, Martin Taylor and of course Jens 😊 to name just a few 😅
Wonderful Lesson from Joe, Thanks Jens to bring that out, Keep listening Joe Pass, 1 album every week, to keep inspiration and alway found something,
Jens, as always, a jam-packed, clear, concise lesson. So much to think about and utilize in a brief video. Thank you for your teaching!
Glad it is useful! 🙂
This was by far one of the best lessons I watched Jens.. evenly paced , easy to catch.. thank you!
Awesome, thank you!
Great video, Jens. I learned much of what I ever knew about harmony from Joe’s early books and tapes
Beautiful, beautiful video, thank you! I also love how you present all this wonderful information with such humour and lightness - it's really a breath of fresh air. I've always taken my music education much too seriously, which is ironic, being that I rarely take anything else too seriously! ;-) Joe Pass was a marvel, and he continues to be so. He also had such a refreshing, unpretentious way of approaching everything, and made every tune sound like the most sensible thing in the world. I also love that you mentioned Cole Porter - oh, those tunes! 'Night And Day' is one that makes me weep, even when I'm playing it (not the most convenient thing in the world). Cheers!
i really think you’re the best yt jazz teacher. Such polished presentations. really impressive and lots of work.
There's so much good info in this video. Took me years to arrive at these hacks. Well done!
I've tried to study some of Joe's lessons and although he tries to make it sound easy he seems to forget that we are only human and he is a Jazz legend. I stood back from trying to be a Jazz guitar player but try to add Jazz harmony theory into some of my playing. Your video lessons have helped a lot. Thanks Jens.
Rock / pop with a little bit of sophistication from the jazz world. Perfection :)
Way beyond my pay grade. But I do love to listen to Mr. Pass. And I'm watching some of your beginner jazz videos. Thanks you, Jens. You're an excellent teacher.
Glad you enjoyed 🙂
Hi, Jens. Joe Pass continues to be my favorite jazz guitarist. I was once accused of sounding like him. I had to ask the guy what he was smoking and would it work its magic on me too. I can barely sound like George West but continued access to your home site and list of RUclips videos have helped me tremendously. You have given me a lot to think about and practice. If only my dexterity was better. Best wishes. George West
When I first saw that video and considered the idea of Major, Minor and Dominant chords as the foundation of it, all, it took a lot of weight off my thinking process. Which, of course, in of itself was something that needed to go. Meaning, this enabled me to stop thinking so much.
Really super analysis! I hear the Ab7 as Eb min too but the more jazz Eb melodic minor which is treating the Ab7 as Ab7#11
I think you’re right, there are very different functions to dominant chords in particular that means they can’t all be lumped together. I think Joe Pass could just hear which was which and played accordingly
I like this approach. I'm a classical bass player (amateur) and when I played jazz, it always same natural to me to play bass lines that were more like a Bach part then playing tones from the chords as if they were blocks. The melodic feel seems to get translated into symbols that you have to play as if it's the law. I don't understand everything that is explained here, but simplification that is later used to expand its something I really like.
Always fascinating to hear what Joe Pass has to say, and how he keeps his thinking of chord progressions "simple." Perhaps you could do a video on Pat Martino and his "Minor Conversion" concept? Your insights would be helpful.
Thank you 🙂 I might, not sure it can make a full.
So much teaching!!! And pretty music too! Thanks for all you do.
Glad you like the video! 🙂
Great lesson, as always, Jens. And Joe Pass is my all time favorite Jazz guitarist.
Glad you like it!
@@JensLarsen Honestly, I have learned so much from watching your videos. To me, you are by far the best Jazz guitar teacher around.
Absolutely fantastic lesson and to me, a new way to think things. I wish if I could apply it to Bossa Nova.
I always appreciate your teachings
Glad you like it Paul!
Joe Pass's knowledge is wonderful, but it was his attitude is what stands out the most. I recent learned how to setup my own guitar & on the 3rd day, I threw out one of the method or ways & it plays wonderful. plays like a Les Paul with a Bridge and Tail piece, but it's a Fender I have. all the strings are all even.
Uncle Joe my fav. Thanks Jens.
All your videos are great, but this one was one of my favorites. Thank you!
Thank you! Glad you enjoyed it 🙂
Thanks so much for this video! I’ve been working on a better approach to memorizing songs so that I can just focus on play during jam sessions rather than peeking at my iReal pro chart and I feel like thinking in terms of chord functions is key to understanding and memorizing songs.
It certainly was helpful for me to think in functions 🙂
Do you think like this or do you have another approach?
Check out how Joe Pass Plays the PERFECT Jazz Solo: ruclips.net/video/PBOpRy6ghJs/видео.html
Those minor sub doms are just so satisfying. Can’t stop playing them. The ii ➡️ flat VII ➡️ I is my favorite. Also just love minor chord with maj 7 and add 9 to it. Been playing with symmetric chord movement from Joe Pass Guitar Style part one. A whole new world is opening up but I feel like a little kid that’s been given a Ferrari, I can’t really correctly apply this powerful knowledge quite yet. Back to the practice room I go!
Great to hear! 🙂
Are you an alien from a perfect planet??
Just love your stuff!
Thanks
Glad you like it!
Aha...Jens knows....brilliant...!!
Saw him with Ella, Fantastic 🙂
the backdoor dominant/minor subdominant stuff was very good...i stumbled on the concept last week (cant remember, guy was european tho) and worked on it all weekend...wasnt expecting to revisit it here, but i dug how you explained it.
Dominants are so interesting because the have a diminished triad built inside of the starting on the third . G7 Has a B dim triad inside gBDF .Approach the 3rd (Bb)from a half step below and moving up into the major 3rd harmony really spices up a melody.
Pat Martino liked to convert Dominants by taking the trip built of the 5th for a min 7 chord G7 would convert using a Dmin 7 . M
great lesson!
Glad you liked it!
Interesting concept.......!!!
Thanks Jens......!!!
Glad you like it!
I had a Joe Pass book back in the day that came with a CD. He talked about this approach. He also had a tip about tuning. He said go buy a tuner lol
This was amazing!!! Thanks bro
Glad you like it 🙂
Great lesson. Thnx!
Glad you like it!
Fascinating stuff, thank you. My head hurts. Thank you for that, as well. Your videos really expand my mind.
Sorry? 😁
This was a very informative one and Joe Pass is cool!
Glad you like it!
Great video, man. I must admit that Joe’s method doesn’t work so well for me, especially when it comes to diminished chords, which aren’t given enough love in my opinion. Your method works much better for me, and actually clears my head more than the 3 chord approach. Thanks for sharing.
this is in epiphany: just the other day I was messing with some 251 lines in C and noticed that if I mostly just play 5 and 1 notes in the line, it sounded just as good if not better. Thanks for putting a name on it.
Joe’s approach, i.e., ignoring the ii chord in a ii V I cadence, works for me - especially on short ii Vs.
This discussion is so far over my head that it’s mind blowing. 🤯 I’ve been playing guitar for 55 years, with very little (next to none) theory but I hold my own. I just do it all by what sounds good; unfortunately I have no idea what I’m doing most of the time, and only a basic idea of what scales I’m playing. I certainly couldn’t tell you what note I was on when playing further up the neck unless it’s on the high or low E string. 🙄
Great video, felt like we could have went further! Love the exploration of Joe Pass and his style!
Glad you like it! This video goes more into functional harmony: ruclips.net/video/msmdbxsjmvI/видео.html
@@JensLarsen thanks can’t wait to dig in on this video too! 🙏🏽
Great video!!
Thank you, Alon 🙂
Simple is the best😎
Anything that simplifies sounds good to me. And If Joe Pass does it, then it' damn sure is good! When one gets as great as Joe, theory and practice can diverge, and practice and capacity become king...
Great video
Thank you 8
Interesting to watch this as a bass player. We’re always encouraged to outline every chord and, even in Bebop solos, I try to stick to that (unless I’m playing outside but I’m still playing outside whilst thinking about each chord). I would probably get more of the Bebop sound by getting rid of the ii.
So my answer "Chords" was right 😀Always looking for new and past videos from You for this subject 🙂Tanx for posting!
What was the question where you answered "chords" 😁 More on this topic: ruclips.net/video/msmdbxsjmvI/видео.html
@@JensLarsen Your survey "What is more important to work on if you want to learn Jazz Guitar?" 🙂
@@antsonc Well, Joe is talking about soloing in this video, right? 😁
@@JensLarsen Yep but we know chords knowledge is strongly connected to improvisation (single note lines as well as block chords soloing) 🙂
I’m a long way from mastering this but I’m getting the point.
This one started out nice and easy. It was helpfully informative, at a pretty basic level. When you got into the minor subdominant idea at the end, it went by pretty fast. I think you have a lot to say on that topic and it could take up a whole video, which I would watch with great interest. More on Cole Porter's harmonic choices would be interesting. The first thing that comes to mind is "Night and Day", starting with Bmaj7 in the key of E♭ major.
Maybe this one? ruclips.net/video/rCs5t5ItVVw/видео.html
@@JensLarsen -- Yes, absolutely, and also your web page on that. Thanks! This is bringing together many music theory concepts for me. One interesting connection is to the negative harmony of Ernst Levy where Fm6 is the negative of G7 in C major. Another is the "chromatic mediant" concept where we see F minor and D♭ major (actually C# major) coming up again in relation to C major and A minor. What about a Phrygian cadence? Neapolitan chord? Borrowed chords from the parallel minor? Tritone substitutions? There are so many relationships among all of these things!
@@JensLarsen -- Another relavent song/concept: "Lady Bird" and the Tadd Dameron turnaround. But this time I checked! You did it 5 years ago. Always way ahead of me! Here it is: ruclips.net/video/rBnUYgkb0XI/видео.html
@@mbmillermo Tadd Dameron, one of the greatest of jazz musicians, and tragically underknown.
Thanks for this! Isn’t this kind of like when Wes sometimes played off the ii instead of the V? I know Martino did the same thing. Rick Beato calls it “ii’ing the V.”
I agree theory and talking about theory is one thing and a wonderful teaching tool but it all boils down to sound. You have to hear the individual notes in the chords of a progression to be able to play the melody lines. Being able to hear resonant frequencies playing off each other is important if you want to improvise over the changes. Training your hearing sense is the best way and done by listening and playing along. This can be done from the old recordings of the masters. Talking and analyzing is ok but experience is the best teacher.
Jens, this video is fantastic. You and your editor are really gelling. Does he play bass by any chance? 😂
Thank you 🙂 Glad you like it!
Good video Jens
Thank you 🙂
Joe Pass is the goat as far as I’m concerned
Thanks for covering this, Jens, but it is more complex than it sounds and it sounds complex to start off with.😳
On one of his courses Joe says: for me there are only 3 chords: major, minor and dominant. Which, coincidental or not, is very similar to classical theory about tonal and key centered music. Beware if you see a huge book with hundreds of chord diagrams. Don't waste your time with it. I don't know who started this weird habit of publishing sheet music full of seemingly complex chord symbols. It is clearly a sign of not understanding music. Concerning bebop: one reason that motivated the use of ii-V-I everywhere was to be able to reuse the same licks and melody patterns on many places, making improvisation easier. There was a preference to emphasize the minor flavor of the used scale as much as possible, hence the tendency of the accompaniment to add ii for a part of the duration of the V.
Yes, that clip is also in this video, it's just a little later.
Wow this is helpful
Glad you like it 🙂
Many thanks for sharing this content. Would it be possible to have the link to that joe pass lesson? Thanks
There's a link in the video description
Going back and analyze the standards I play now. Interesting concept. Does anyone know what the Joe Pass video is that the excerpts are taken from?
There's a link in the video description
Yes the II - V transition lacks the punch and resolution of the V - I. But it serves a purpose: it defers the eventual release of the V - I. It is not dramatic itself, but it serves to enhance the drama of the final transition. At least that is how I see it.
I am absolutely not good enough to be taking this advice but i'm definitely taking it anyways. fewer chords bro what's not to love #justguitaristthings
Go for it!
The last video suggestion is not appearing. Great video thou, thanks for all your teaching 🙏
Ok, it does for me, but there is also a link in the video description. What are you watching on?
Jens, you are always so organized on here. Do you have a link to that Pass interview ? Thanks
There is a link in the video description 🙂
see above, my comment...
@@JensLarsen Thanks Jens. Sorry, as i should have caught that. I actually stumbled on this same video a number of years ago. One of the interesting things about it, is the guitar Joe is playing. This is one of the very few videos of Joe playing it. I believe it was a special production Gibson made for him. If you notice, the single pickup is moved forward up against the neck like an L4. And the body appears to be about 3/8"to 1/2" thinner than a conventional ES175. I never understood why Gibson never put it into production. It's the only one like i've ever seen. Curious as to what became of it.
I love the memes in the video lol
Thank you
What about replacing one bar of IIm7 with its V7 alt. , Depending of the altered scale choice possible in the context the chosen alt. sound can sound very "out" on the IIm7 . Especially lets say when you hit A7 's #5 = f right on beat 1 of Em7 ( f = b9 to Em7 !!! ) ... does it not depend on more like tempo ...
What does he mean when he says the notes are the same for the 2 scale and 5 scale?
Like in C, the 2 is d minor and the 5 is G, and those scales have different notes.
Hello!
I like this, give some hope to figure out Jazz enough to fake it. How many jazz players play by ear? Seems like many great players do it with out mastering theory?
What you really want to ask yourself is what is the easiest way for you to learn.
I love Jens videos. They are sometimes a little over my head. Also great respect for Joe Pass. Joe is saying for a II, V just play the V. I like arpeggios as Joe seems to be indicating at about 1:10 in the video. At about 1:17 Joe is saying the scale for the V (in this case in the key of C) is just playing the notes of a C scale starting from G for a G7. At around 1:25 he is saying the scale for the II (Dm7) is just playing the C scale starting from D. So since they are the same notes to just play the V. Jens, points this out at about 2:48, also. But, if it is diatonic, and the scale he uses is just to play the notes of the scale starting from the root note of the chord, wouldn't that be the same for any chord in the key ? So just improvise using the major scale ?
Or am I missing something ? I suspect I am.
Glad you like the videos!
Joe Pass makes a difference between a tonic chord and a dominant chord so he would not just think C major over the whole thing. The scale argument that he gives, just isn't that strong 🙂
@@JensLarsen Jens, thanks for the reply. I get the chord function idea between tonic and dominant chords. Like the way Joe breaks it down to three chord types at about 4:41, with Major, Minor and Dominant. Using arpeggios is something that I am comfortable with, but not so much on scales. Can you recommend any videos on how to use scales or picking a scale to use over a chord ?
@@tomnolan4406 I have videos on how I do this, but it is a different system than Joe, as I want to have more information from it.
Maybe check out this: jenslarsen.nl/how-to-analyze-songs-music-theory-and-functional-harmony/
Hey Jens,
1) thank you for the minor subdominant equivalent, should be useful! (Does it explain the IIbM7 we sometimes see in the A of Green Dolphin?)
2) I don’t really understand why having Dm7 scale (D Dorian) and G7 (G Myxolidian) containing the same notes implies that they can be treated the same. C chord (C major) also contains the same notes. So using the same scale on a IIm V7 I doesn’t really help that much to sound great. Maybe he points out here that key notes of G7 chords/arpeggio can be used on Dm7, which is less the case with C chord.
3) I am pretty sure having heard Joe Pass using altered scale on the V of a IIm V7 I. And not on the IIm. Maybe he makes that difference between IIm and V7 without any conscience of it, but he kind of misguides us here, poor musicians who don’t have his incredible hearing capabilities and instinct!
1) yes if you play a bIIMaj7 in the Apart of Green Dolphin Street then it is a minor subdominant
2) That is his explanation, but it is not a rule or something that is set in stone
3) It is not a rule or set in stone, and it is only a problem if you try to interpret it like that. I already explain in the video how that isn't always practical.
You should have thrown in his imitation of rappers that he did in one of his instructional videos, it was kinda funny and telling what he thought about that type of music, ha ha
Have you ever listened to Howard Roberts and what do you think?
I have, but I don't remember what I thought about it.
First ,Thanks a lot for sharing your experience
at 7:04 you shown an example of a bar of A7b9 chord on the key of F and you say we can play "down a C7 scale to the 3rd of A7". For me, I simply see this as playing de F scale (the key) down from the 9th of the A chord to the 4th ( 9 8 7 6 5 4 of the F scale )
What I don't understand is the C# ! ?
Could you or someone, please, tell where is my error ?
What is the 3rd of A7?
@@JensLarsen Thank you to take time for me : the 3rd of A7 is a C# BUT in the key of F the A chord is minor, there's no C# in the F scale. The A7b9 sound minor but the C# ... is for the next chord ?
Do you agree with my view of this as "playing de F scale (the key) down from the 9th of the A chord to the 4th ( 9 8 7 6 5 4 of the F scale )" ?
@@rafberu It doesn't say Am7(b9) it says A7(b9) so the 3rd is C#.
In this context it would probably make a lot more sense to relate the A7 to Dm. The reason Barry Harris says down the C7 to the 3rd of A is that he is using an exercise that his students already know with one note changed.
@@JensLarsen yes, F key is the relative to Dm, that make me see the C# as the transition note from A7b9 chord to the next chord Dmmaj7 (C to C# to D).
Excuse me, you said the scale is Dm harmonic so C is sharp and the A chord is major and it make sense.
Thank you again
🙏
I admit that I am a bit confused about one Joe Pass comment. The 2 and the 5 use the same notes. Sure and so does the 1. They're all diatonic to the scale. I know I am missing something but I don't know what haha
If what I said is true, then why was a big deal made about 2 and 5?
I think he's saying the II is more useful to the bass player than the guitar player
💯
jazz chords or chords that are popular in jazz?
Minors, Majors, and Dominants.......right?
Yes. And he places diminished in the dominant category
Perhaps the tempo of the song could determine what approach to use. Throwing out passing chords has a certain logic given the fast pace of most bebop. Even the fastest players aren't likelyto play a complete phrase over the two chord. If it's a ballad, there's opportunity to emphasize each change.
I think it should be more flexible than that, it can also vary from chorus to chorus 🙂
I'm on my guitar now and I thought that the dimor7 has b flat?
Dm7 as the II chord in C major? No, it doesn't (no matter what guitar you are on 🙂)
A bit beyond me I'm afraid. But as I study more, I might get it.
Go for it 🙂
i like the idea of simplification & the way you explained it: dom9sus4 -> dom7, I had never thought of it way. i feel joe's explanation "V's scale contains ii's scale, so ii is unnecessary" wasn't very convincing. Any scale degree's chord-scale/mode has the same notes as any other (diatonic) scale degree's chord-scale (i.e. the modes are just "rotations" of the single diatonic scale). if that is the justification for removing ii, then any other (diatonic) chord could have replaced V and ii, and then it feels moot
No, it isn't a really strong explanation, in the end it is just about choosing which chords are important and which are not? 🙂
Chord substitutions are mostly to help bassists construct interesting walking lines underneath the melody IMHO.
But you know how it is. When the bassist plays something underneath that steals attention from the pretty lady then it quickly leads to a chord substitution arms race and then Flanagan gets angry at Coltrane's bullshit and it all goes round and round...
Well, now I don’t feel so bad for doing this anyway, now it’s just more calculated!!
SIGN ME UP!
Which video of Joe Pass is this?
There's a link in the video description
Can you just noodle around in key and land on some anchor notes. It’s all the same scale by this logic
Good old Joe. Years and years ago I realized the same thing: there are just three kinds of chords: major, minor and dominant. My approach has always been to make sure I can see all the chord tones for any given moment. I don't think 'scale' at all, just chord tones, and I see the whole fretboard as The Chord ... something I call the Superchord. The chord tones are, of course, part of the underlying scale, and the underlying scale is part of the chromatic scale, so all notes are there to be used ... so long as chord tones are boss. But, I'm not really a jazz player ... I'm a music player.