Jamey Aebersold Jazz, Volume 100: St. Louis Blues: Book & CD

Volume 100 is a deliberate return to the roots, and that choice matters. Instead of reaching for another modal workshop or contemporary tune set, Aebersold celebrates the tunes that established jazz vocabulary in the first place. The stereo separation feature is genuinely useful: horn players can flip out the piano to work on comping relationships with the banjo, or strip the rhythm section entirely to lock the solo. That flexibility lets every section of your band find something to work on.

The authenticity hits you immediately. This isn't a slick modern reharmonization or a fusion spin; it's the genuine article played the way these tunes were meant to sit. The rhythm section swings with a lightness and bounce that modern styles often flatten, and the straightforward melodies leave space for your own phrasing and interpretation.

Intermediate and advanced jazz players in any section who want to deepen their command of standard changes and early jazz vocabulary. Pianists and guitarists gain an extra layer of utility from the stereo separation feature, which lets them practice voicing decisions without the original keyboard part.

• Experiment with the balance control to isolate different rhythm section voices. Removing the piano lets you hear how the banjo voices chords differently; removing the banjo shows you how a traditional stride piano approach opens up space.
• Listen to the recorded version multiple times before playing. Notice the placement of the melody, the swing articulation, and how the rhythm section breathes together. These details won't appear on the page.
• Start with the slower ballads like Limehouse Blues or Saint James Infirmary if you're newer to this repertoire. The harmonic movement is clearer at a moderate tempo, and you'll lock the changes before tackling the up-tempo swingers.
• Use the up-tempo tunes as ensemble warm-ups before your main rehearsal. The bounce that Aebersold mentions in the notes is real; these recordings will get your section playing with better time feel and lighter articulation.

Slot these tunes into your curriculum whenever you want to reset focus on foundational harmonic vocabulary. The 16 titles give you enough material for a full concert or a sustained unit on American standards. Consider pairing this volume with your main jazz repertoire list during the weeks when you need both breadth and accessibility, or feature a few of these pieces in a jazz showcase that celebrates how far the tradition runs.

• Swing feel and authentic articulation in early jazz styles
• Reading and playing 12-bar blues changes and AABA song forms
• Comping and harmonic awareness from both piano and banjo voicings
• Solo construction over ii-V-I progressions and modal changes
• Listening and ensemble responsibility alongside recorded accompaniment
• Stylistic flexibility across uptempo swingers and ballads