Jamey Aebersold Jazz, Volume 118: Groovin' Jazz: Book & 2 CDs

Joey DeFrancesco's organ trio brings legitimate working-band energy to these sessions, and that authenticity changes how students approach the music. The instrumentation (organ, guitar, drums) creates a tighter, more interactive dynamic than larger ensembles, which means students hear every rhythmic decision and must respond actively rather than blend into a crowd.

The groove here sits in that sweet spot where swing is unmistakable but relaxed, never rushed. DeFrancesco's B-3 tone recalls the soul-jazz tradition while keeping the harmony modern, so each standard feels both anchored and alive.

Intermediate to advanced improvising musicians on any instrument who need to practice soloing in real ensemble settings. This collection works especially well for alto and tenor players, trumpet and trombone, and keyboard players who want to match wits with a seasoned rhythm section.

• Listen to DeFrancesco's phrasing across multiple choruses before you play. Notice how he uses space and repetition to build ideas rather than filling every bar.
• Lock into the drummer's hi-hat pattern first; it's your anchor for understanding the swing feel, especially on the blues tracks where the groove can shift subtly.
• Sing the melody of each tune separately before you improvise over it. The organ trio plays these standards with specific harmonic voicings, and knowing the tune prevents you from getting lost.
• On the blues, start your solo by stating simple ideas directly from the melody. DeFrancesco's solo trading with the guitar shows how communication happens through economy, not quantity.

Use individual tunes to supplement jazz combo rehearsals, or assign the entire book as a play-along curriculum for students working on solo development outside ensemble time. The range of tempos and harmonic complexity makes it suitable for building improvisational vocabulary across a full school year.

• Trading 4s and 8s with the rhythm section
• Listening for harmonic reharmonization and responding in real time
• Phrasing over swing comping and understanding the interplay between soloist and organ
• Melodic development and connecting improvised lines to the original tune
• Blues vocabulary and feel on a dedicated blues track in B-flat
• Navigating standards at varied tempos and in different harmonic contexts