Jamey Aebersold Jazz, Volume 114: Good Time!: Book & Online Audio

This volume focuses on the foundation that separates competent players from confident ones: time feel and harmonic awareness. The multi-track format means your bassists practice with Adam Nussbaum and Jay Anderson as the rhythm section, while your horn players learn to phrase over real accompaniment. You get 15 different standards with varied configurations so every section of your band finds material that serves their specific needs.

Stepping into a rhythm section that doesn't rush or drag, that leaves space for your soloing and listens. The tempos span from relaxed to quick, the tunes range from blues to bossas to modal pieces, so you're never on autopilot. Playing these tracks builds confidence because you're learning from players who have spent decades perfecting their craft.

Intermediate and advanced musicians across all instruments who need to sharpen their sense of swing and time feel in a band context. Bassists and drummers benefit from separated mixes that let them hear and lock into each other without distraction. Soloists at all levels gain from playing alongside professional-quality rhythm sections across multiple standards.

• Start with the split-track version (Album 1) to hear exactly how the bass and drums sit together; this reference point is invaluable when moving to single-instrument mixes.
• Have your pianists and guitarists use Album 3 (drums only) first to hear where they need to lock harmonically with the rhythm section before soloing freely.
• Rotate through different tempos across rehearsals rather than fixating on one speed; playing "Relaxin'" one week and "Double Trouble" the next builds adaptability.
• Push your soloists to use the multi-mix format strategically: comp with the piano, solo over drums, play melody with the full rhythm section, then repeat. This builds ownership of the tune.

Use this as your primary tool for jazz combo coaching during the second half of the school year when your soloists need to sharpen their phrasing and timekeeping. Assign specific volumes to different sections: bassists work with Album 2, horn players rotate through all formats. The 15 tunes map onto standards your jazz ensemble might perform, so pairing this with live repertoire makes the connection between soloing and ensemble playing tangible.

• Maintaining steady time feel over extended solos without rushing or dragging
• Recognizing and responding to harmonic changes in real time across multiple tempos
• Listening and locking with a rhythm section across different configurations (full, drums-only, bass-only)
• Phrasing phrases over swung backbeats and syncopated rhythms
• Transposing and soloing on standards in multiple keys and styles (blues, bossa, modal, swing)
• Building independence between soloists and rhythm section