Jamey Aebersold Jazz, Volume 11: Herbie Hancock: Book & Online Audio

This collection lets you build an entire improvisation curriculum around a single composer's voice. Hancock's harmonic palette runs from simple triadic changes on 'Watermelon Man' to the sophisticated modal landscape of 'Maiden Voyage,' so every ability level finds genuine material to grow with rather than simplified or arranged versions. The rhythm section anchored by Kenny Barron, Ron Carter, and Billy Hart sets a professional standard that pushes students to listen and respond with intention.

You're inside Hancock's musical laboratory, where a laid-back funk groove can shift into modal meditation without losing coherence. The eight tunes pull you through different emotional territory, from the sunny bounce of 'Cantaloupe Island' to the introspective calm of 'Maiden Voyage,' keeping both soloist and listener engaged.

Intermediate and advanced players ready to move beyond learning changes and toward actual improvisation. This works equally well for horn players, guitarists, bassists, and keyboard players looking for material that sits naturally on their instruments.

• Start 'Watermelon Man' with the groove locked in your body before worrying about note choices. Your phrasing will breathe naturally once you stop fighting the funk.
• On the modal tunes, resist the urge to change harmony every chord change you see. Hear the underlying sound and build motifs that float over it.
• Use the recorded accompaniment at slower tempos first, especially for the changes in 'Dolphin Dance' and 'Eye of the Hurricane.' Speed comes after internalization.
• Listen to Hancock's original recordings of these tunes before playing the play-along. Knowing his melodic approach gives you a reference point for your own voice.

Slot this into your jazz ensemble's solo rotation during the winter and spring months when students have enough foundational knowledge to tackle multiple styles. You can also assign individual tunes for sectional practice, since the recordings let smaller groups work without requiring a full rhythm section.

• Soloing over modal harmony without relying on chord-tone outlines
• Phrasing that responds to groove-based rhythm sections
• Recognizing and adapting to harmonic shifts from funk to modal to swing contexts
• Building cohesive solos using small motifs rather than scalar runs
• Listening and time feel development with professional-level accompanists