You’ve got to know Moody’s Mood For Love, one of the most iconic solos in all of jazz (https://youtu.be/u0KN4_99qEM). It was originally recorded in the 40’s as an alto sax solo over the changes to I’m In the Mood for Love, (https://youtu.be/yuOsB4psC9E). Eddie Jefferson set lyrics to Moody’s solo, and the new version, first recorded by King Pleasure (https://youtu.be/ICNhZMimZjk), became a hit and has been in many many jazz singers’ books ever since. Here below is a tab of the first chorus of the original solo, which is an excellent example of how to play over ballads.
Yes banjo-pickers, we CAN play over ballads! Listen to Moody’s phrasing - the musical sentences, and the moments of silence separating them - and notice the importance Moody places on how the phrases end. Frequently with the beboppers, you’ll hear the “modern” stuff happen on the last one or two notes of a phrase. Phrasing is yuuuuge! Pretend you’re a horn player or singer and give yourself places to take a breath, and don’t be afraid of a little silence. The use of silence is a great way of claiming this particular musical space as yours.
Breath-awareness is a great thing to incorporate into your improvisation practice: Try only playing on your exhales. Sometimes I need to do this on the gig if I find myself getting a little too busy, or valuing notes over music, my ego over my audience.
So some brief notes about playing ballads would include:
Play in phrases.
Breathe.
“Play” silence.
Place the last note of a phrase with the same intent as you placed the first.
Learn the lyrics if possible, at least have some idea what the tune is about.
Use the melody. That melody is the reason you’re even bothering to try to play a solo over it.
