ExamplE5 StatiC minor lineS
although Charlie made mincemeat out of rapid moving changes, he was never stuck for ideas when improvising against a static tonality either. Here, we see how he might approach an extended vamp against a B minor chord. notice ho3w he adds colour to the basic chord tones by adding both major 6th (G) and
(r-2-b3-4-5-6-7), major 7th (a) intervals, implying the ‘jazz’ Melodic Minor scale while a little later on he switches to the aeolian mode (natural Minor scale), by
b6th (Gb) b7th (ab). switching to both and imagine hearing this stuff for the first time, as jazz lovers would have done all those years ago. amazing!