Ron Drotos: Jazz piano lesson and musical/historical discussion of the Wayne Shorter jazz standard “House Of Jade,” which he recorded on his 1960’s Blues Note album “Juju,” with McCoy Tyner on piano.

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Diving deep into the world of Wayne Shorter 0:00
Wayne Shorter’s classic 1960s Blue Note recordings 0:18
The 1960s Blue Note “sound” 0:36
The difference between Wayne Shorter’s work with Art Blakey and Miles Davis 0:40
Characteristics of Wayne Shorter’s phrasing 1:20
The unusual shape of some Wayne Shorter saxophone solos 1:30
Viewing Wayne Shorter’s 1960s Blue Note recordings as stylistically “between” his work with Art Blakey and Miles Davis 1:57
“House Of Jade” as a medium slow ballad 2:22
Applying Wayne Shorter’s later techniques to his early tunes 2:40
Wayne Shorter-type chord voicings as influenced by contemporary classical music 2:48
The influence of movie soundtracks on Wayne Shorter’s compositions and arrangements 3:10
Did Gil Evans bring the “So What” chord voicing to Miles Davis? 3:36
The “So What” jazz chord voicing from Miles Davis’ “Kind Of Blue” as containing 5 out of the 6 open strings on the guitar 3:55
Harmonizing melodies with the “So What” chord 4:07
Combining the “So What” chord with similar, improvised voicings 4:25
Improvising chord voicings “freely,” like Keith Jarrett does 4:37
The ABA form of Wayne Shorter’s “House Of Jade” 4:51
Wayne Shorter’s use of contrasting harmonic rhythm between the A sections and the bridge to “House Of Jade” 5:01
Wayne Shorter’s balancing of the “conventional” with the “unconventional” 5:17
To bridge to “House Of Jade” as sounding like Stravinsky 5:39
Beginning “House Of Jade” rubato, with “So What” and similar voicings 6:12
Arpeggiating the voicings 6:38
Playing the bridge in the style of early Stravinsky 6:58
Playing the melody up an octave, over left hand tremolos 7:24
Easing into tempo, over a Cm harmony 7:57
Playing the melody in tempo 8:22
Adding passing chords, with left hand 10ths 8:42
Modal improvisation on the bridge 8:48
A left hand descending scale 8:59
Harmonizing the melody with voicings similar to those in the intro 9:23
Digging into the groove more, with block-type chords 9:34
Developing a motif 9:45
A Herbie Hancock-like use of triplets 9:54
Using modal patterns in the right hand, in the style of Herbie Hancock 10:03
Dividing the triplets between the two hands, for a polyrhythmic effect 10:13
Chromatically-ascending chord substitutions 10:24
Referring to the tune’s melody during the solo section10:28
Highlighting the groove, with a touch of blues 10:34
Piano improv over a left hand walking bass line 10:40
A Thelonious Monk-like minor 2nd 10:42
A blues-scale lick 10:46
Creating an Impressionistic piano texture in a jazz context 11:04
A solo break 11:18
Using Wayne Shorter-style “flurries of phrases” 11:36
Soloing in octaves 11:54
Herbie Hancock-style blues licks over a medium tempo groove 11:56
Open 5ths in the bass 12:08
Improvising with high tremolos 12:30
Rhythmic displacement of a motif 12:56
Jazz counterpoint 13:10
Returning to similar voicings from the intro and opening melodic section 13:22
Visiting a different harmonic area 14:13
Improvising an ending to “House Of Jade” 14:17
An evocative final chord with motivic repetition, influenced by Stravinsky’s opening to “The Rite Of Spring” 14:28
Drawing upon a wide range of musical influences while playing Wayne Shorter’s music 15:05

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Enjoy the journey, and "let the music flow!"
Ron

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