Author: MarlboroughMan
Date: 2015-12-01 01:27
Hmmm...just saw this. Not much to contribute, really, except to say that no one scale will work particularly well for New Orleans style. Knowing the changes is essential.
Having said that, guys like Benny Goodman talked about "knowing the scale" for a song. It might surprise people that Benny thought in a scalular way in some sense...which is not to say he approached the music the way bop players do, using scales in the same manner. But he interacted with tunes in a way that referenced the scale more obliquely.
One thing to note is a that a IV7 chord, for instance, which is very common, invites a flat third scale degree in the tonic key...and that diminished chords often serve as a both bridging and blues-encouraging functions...these little things suggest a basic approach...
Most of the great NOLA players interacted with the chord changes, triadically, but embellishing them with a lot of subsidiary chromatic leading tones. Perhaps it's wise to think of the basic scales (or scales) of a particular tune, but always in reference to the changes themselves. In some ways this is not all that different from bop, when you think of it...but you'd better hit the root third and fifth more cleanly and rhythmically in NOLA style, and not get too excited about extensions.
Having said all that, there are many ways of getting there. I've never met two jazz soloists who thought the same way, at least among wind players.
Eric
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