Danny Brit's free streaming drum video's

Danny Brit is a New Jersey drummer who has posted his instructional videos on the web. There are video's of Art Verdi-world's fastest drummer, Jeff Indyke and himself demonstrating techiniques like the Moeller stroke, Latin double bass drum grooves, and the Gladstone technique. Also check out his many articles and audio lessons. More teachers should utilize the web like this. Great job Danny!

Videos
Articles
more lessons

The music business

"The music business is a cruel and shallow money
trench, a long plastic hallway where thieves and
pimps run free, and good men die like dogs.

There's also a negative side."

--Hunter S. Thompson

Armand Reynard's transcriptions and reharms

Armand Reynold is a Jazz harmony professor in Lyon, France. He is the author of many books on Jazz harmony and improvisation. Here are some of his transcriptions as well as some interesting rehamonizations and compositions.
Be sure to take a look at Richie Beirach's reharm of All The Things You Are.

This guy looks like he is probably a great Jazz teacher. (note to self: learn French)

Armand Reynard's transcriptions,reharmonizations, compositions and voicings

Metaphors for Articulation

Here's a fascinating article on articulation:

METAPHORS FOR ARTICULATION. Par Tony Pay

The Real Book listening Guide

Ever wonder what Doin' the Pig sounded like? How about Bitter Suite In The Ozone?

Now you can look up every tune in the Real Book and get links to buy or sample each track at the iTunes store. There are also links to order play alongs.

Check out The Real Book Listening Guide

Half-step subs/related ii-7s, part two

A few posts ago we looked at a simple ii-V7 substitution that implies a secondary dominant over the ii-7 by playing a minor seventh chord up a half-step from the ii-7. This implies a subV7 of V7 because you are playing the related ii-7 of the subV7 (related ii-7s and V7s are interchangable as far as substitution goes).

original
D-7 /G7 /Cmaj7

played
Eb-7 /G7 /Cmaj7

implied
Ab7(#11)/G7 /Cmaj7

Now let's take this same concept one step further and substitute the related ii-7 of the subV7 of Imaj7 for the regular V7. This sounds convoluted but is so simple to calculate on the fly. All you have to do is play a minor seventh chord a half-step above the dominant.

So over this
D-7 /G7 /Cmaj7

play
Eb-7 /Ab-7 /Cmaj7

implying
Ab7(#11) /Db7(#11)/Cmaj7
subV7 of V/subV7 of I/Cmaj7

Very, very cool. Very, very easy to do.

Interviews at Jazz review.com

I found this great site recently. They have a ton of interviews with Jazz musicians.

www.jazzreview.com